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                "name": "Why We Fought",
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                "description": "Film moves audiences like no other medium; both documentaries and feature films are especially remarkable for their ability to influence viewers. Best-selling author James Brady remarked that he joined the Marines to fight in Korea after seeing a John Wayne film, demonstrating how a motion picture can change the course of a human lifein this case, launching the career of a major historian and novelist. In Why We Fought: America's Wars in Film and History, editors Peter C. Rollins and John E. O'Connor explore the complexities of war films, describing the ways in which such productions interpret history and illuminate American values, politics, and culture. This comprehensive volume covers representations of war in film from the American Revolution in the 18th century to today's global War on Terror. The contributors examine iconic battle films such as The Big Parade (1925), All Quiet on the Western Front (1930), From Here to Eternity (1953), and Platoon (1986), considering them as historical artifacts. The authors explain how film shapes our cultural understanding of military conflicts, analyzing how war is depicted on television programs, through news media outlets, and in fictional and factual texts. With several essays examining the events of September 11, 2001, and their aftermath, the book has a timely relevance concerning the country's current military conflicts. Jeff Chown examines controversial documentary films about the Iraq War, while Stacy Takacs considers Jessica Lynch and American gender issues in a post-9/11 world, and James Kendrick explores the political messages and aesthetic implications of United 93. From filmmakers who reshaped our understanding of the history of the Alamo, to Ken Burns's popular series on the Civil War, to the uses of film and media in understanding the Vietnam conflict, Why We Fought offers a balanced outlook one of the book's editors was a combat officer in the United States Marines, the other an antiwar activiston the conflicts that have become touchstones of American history. As Air Force veteran and film scholar Robert Fyne notes in the foreword, American war films mirror a nation's past and offer tangible evidence of the ways millions of Americans have become devoted, as was General MacArthur, to \"Duty, honor, and country.\" Why We Fought chronicles how, for more than half a century, war films have shaped our nation's consciousness.",
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                "description": "We'll Always Have the Movies explores how movies made in Hollywood during World War II were vehicles for helping Americans understand the war. Far from being simplistic, flag-waving propaganda designed to evoke emotional reactions, these films offered audiences narrative structures that formed a foundation for grasping the nuances of war. These films asked audiences to consider the implications of the Nazi threat, they put a face on both our enemies and allies, and they explored changing wartime gender roles. We'll Always Have the Movies reveals how film after film repeated the narratives, character types, and rhetoric that made the war and each American's role in it comprehensible.Robert L. McLaughlin and Sally E. Parry have screened more than 600 movies made between 1937 and 1946including many never before discussed in this contextand have analyzed the cultural and historical importance of these films in explaining the war to moviegoers. Pre-Pearl Harbor films such as Sergeant York, Foreign Correspondent, and The Great Dictator established the rationale for the war in Europe. After the United States entered the war, films such as Air Force, So Proudly We Hail! and Back to Bataan conveyed reasons for U.S. involvement in the Pacific. The Hitler Gang, Sahara, and Bataan defined our enemies; and Mrs. Miniver, Mission to Moscow, and Dragon Seed defined our allies. Some moviesThe Miracle of Morgan's Creek, Hail the Conquering Hero, and Lifeboat among themexplored homefront anxieties about the war's effects on American society.Of the many films that sought to explain the politics behind and the social impact of the warand why it concerned AmericansCasablanca is perhaps one of the most widely recognized. McLaughlin and Parry argue that Rick's Cafe Americain serves as a United Nations, sheltering characters who represent countries being oppressed by Germany. At Rick's, these characters learn that they share a common love of freedom, which is embodied in patriotism; from this commonality, they overcome their differences and work together to solve a conflict that affects them all. As the representative American, Rick Blain (Humphrey Bogart) cannot idly stand by in the face of injustice, and he ultimately sides with those being oppressed. Bogart's character is a metaphor for America, which could also come out of its isolationism to be a true world leader and unite with its allies to defeat a common enemy.Collectively, Hollywood's war-era films created a mythic history of the war that, even today, has more currency than the actual events of World War II.",
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                "description": "In the course of fifty years, director Stanley Kubrick produced some of the most haunting and indelible images on film. His films touch on a wide range of topics rife with questions about human life, behavior, and emotions: love and sex, war, crime, madness, social conditioning, and technology. Within this great variety of subject matter, Kubrick examines different sides of reality and unifies them into a rich philosophical vision that is similar to existentialism. Perhaps more than any other philosophical concept, existentialismthe belief that philosophical truth has meaning only if it is chosen by the individualhas come down from the ivory tower to influence popular culture at large. In virtually all of Kubrick's films, the protagonist finds himself or herself in opposition to a hard and uncaring world, whether the conflict arises in the natural world or in human institutions. Kubrick's war films (Fear and Desire, Paths of Glory, Dr. Strangelove, and Full Metal Jacket) examine how humans deal with their worst fearsespecially the fear of deathwhen facing the absurdity of war. Full Metal Jacket portrays a world of physical and moral change, with an environment in continual flux in which attempting to impose order can be dangerous. The film explores the tragic consequences of an unbending moral code in a constantly changing universe. Essays in the volume examine Kubrick's interest in morality and fate, revealing a Stoic philosophy at the center of many of his films. Several of the contributors find his oeuvre to be characterized by skepticism, irony, and unfettered hedonism. In such films as A Clockwork Orange and 2001: A Space Odyssey, Kubrick confronts the notion that we will struggle against our own scientific and technological innovations. Kubrick's films about the future posit that an active form of nihilism will allow humans to accept the emptiness of the world and push beyond it to form a free and creative view of humanity. Taken together, the essays in The Philosophy of Stanley Kubrick are an engaging look at the director's stark vision of a constantly changing moral and physical universe. They promise to add depth and complexity to the interpretation of Kubrick's signature films.",
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                "description": "Often typecast as a menacing figure, Peter Lorre achieved Hollywood fame first as a featured player and later as a character actor, trademarking his screen performances with a delicately strung balance between good and evil. His portrayal of the child murderer in Fritz Lang's masterpiece M (1931) catapulted him to international fame. Lang said of Lorre: \"He gave one of the best performances in film history and certainly the best in his life.\" Today, the Hungarian-born actor is also recognized for his riveting performances in The Man Who Knew Too Much (1934), The Maltese Falcon (1941), and Casablanca (1942). Lorre arrived in America in 1934 expecting to shed his screen image as a villain. He even tried to lose his signature accent, but Hollywood repeatedly cast him as an outsider who hinted at things better left unknown. Seeking greater control over his career, Lorre established his own production company. His unofficial \"graylisting\" by the House Committee on Un-American Activities, however, left him with little work. He returned to Germany, where he co-authored, directed, and starred in the film Der Verlorene (The Lost One) in 1951. German audiences rejected Lorre's dark vision of their recent past, and the actor returned to America, wearily accepting roles that parodied his sinister movie personality.The first biography of this major actor, The Lost One: A Life of Peter Lorre draws upon more than three hundred interviews, including conversations with directors Fritz Lang, Alfred Hitchcock, Billy Wilder, John Huston, Frank Capra, and Rouben Mamoulian, who speak candidly about Lorre, both the man and the actor. Author Stephen D. Youngkin examines for the first time Lorre's pivotal relationship with German dramatist Bertolt Brecht, his experience as an emigre from Hitler's Germany, his battle with drug addiction, and his struggle with the choice between celebrity and intellectual respectability.Separating the enigmatic person from the persona long associated with one of classic Hollywood's most recognizable faces, The Lost One is the definitive account of a life triumphant and yet tragically riddled with many failed possibilities.",
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                "description": "On December 26, 2004, a massive tsunami triggered by an underwater earthquake pummeled the coasts of Thailand, Indonesia, Sri Lanka, and other countries along the Indian Ocean. With casualties as far away as Africa, the aftermath was overwhelming: ships could be spotted miles inland; cars floated in the ocean; legions of the unidentified deadan estimated 225,000were buried in mass graves; relief organizations struggled to reach rural areas and provide adequate aid for survivors. Shortly after this disaster, researchers from around the world traveled to the region's most devastated areas, observing and documenting the tsunami's impact. The Indian Ocean Tsunami: The Global Response to a Natural Disaster offers the first analysis of the response and recovery effort. Editors Pradyumna P. Karan and S. Subbiah, employing an interdisciplinary approach, have assembled an international team of top geographers, geologists, anthropologists, and political scientists to study the environmental, economic, and political effects of the 2004 Indian Ocean tsunami. The volume includes chapters that address the tsunami's geo-environmental impact on coastal ecosystems and groundwater systems. Other chapters offer sociocultural perspectives on religious power relations in South India and suggest ways to improve government agencies' response systems for natural disasters. A clear and definitive analysis of the second deadliest natural disaster on record, The Indian Ocean Tsunami will be of interest to environmentalists and political scientists alike, as well as to planners and administrators of disaster-preparedness programs.",
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                "description": "\"The history books may write it Reverend King was born in Atlanta, and then came to Montgomery, but we feel that he was born in Montgomery in the struggle here, and now he is moving to Atlanta for bigger responsibilities.\"Member of Dexter Avenue Baptist Church, November 1959 Preacherthis simple term describes the twenty-five-year-old Ph.D. in theology who arrived in Montgomery, Alabama, to become the pastor of Dexter Avenue Baptist Church in 1954. His name was Martin Luther King Jr., but where did this young minister come from? What did he believe, and what role would he play in the growing activism of the civil rights movement of the 1950s? In Becoming King: Martin Luther King Jr. and the Making of a National Leader, author Troy Jackson chronicles King's emergence and effectiveness as a civil rights leader by examining his relationship with the people of Montgomery, Alabama. Using the sharp lens of Montgomery's struggle for racial equality to investigate King's burgeoning leadership, Jackson explores King's ability to connect with the educated and the unlettered, professionals and the working class. In particular, Jackson highlights King's alliances with Jo Ann Robinson, a young English professor at Alabama State University; E. D. Nixon, a middle-aged Pullman porter and head of the local NAACP chapter; and Virginia Durr, a courageous white woman who bailed Rosa Parks out of jail after Parks refused to give up her bus seat to a white person. Jackson offers nuanced portrayals of King's relationships with these and other civil rights leaders in the community to illustrate King's development within the community. Drawing on countless interviews and archival sources, Jackson compares King's sermons and religious writings before, during, and after the Montgomery bus boycott. Jackson demonstrates how King's voice and message evolved during his time in Montgomery, reflecting the shared struggles, challenges, experiences, and hopes of the people with whom he worked. Many studies of the civil rights movement end analyses of Montgomery's struggle with the conclusion of the bus boycott and the establishment of the Southern Christian Leadership Conference. Jackson surveys King's uneasy post-boycott relations with E. D. Nixon and Rosa Parks, shedding new light on Parks's plight in Montgomery after the boycott and revealing the internal discord that threatened the movement's hard-won momentum. The controversies within the Montgomery Improvement Association compelled King to position himself as a national figure who could rise above the quarrels within the movement and focus on attaining its greater goals. Though the Montgomery struggle thrust King into the national spotlight, the local impact on the lives of blacks from all socioeconomic classes was minimal at the time. As the citizens of Montgomery awaited permanent change, King left the city, taking the lessons he learned there onto the national stage. In the crucible of Montgomery, Martin Luther King Jr. was transformed from an inexperienced Baptist preacher into a civil rights leader of profound national importance.",
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                "description": "Alois Dwenger, writing from the front in May of 1942, complained that people forgot \"the actions of simple soldiers.I believe that true heroism lies in bearing this dreadful everyday life.\" In exploring the reality of the Landser, the average German soldier in World War II, through letters, diaries, memoirs, and oral histories, Stephen G. Fritz provides the definitive account of the everyday war of the German front soldier. The personal documents of these soldiers, most from the Russian front, where the majority of German infantrymen saw service, paint a richly textured portrait of the Landser that illustrates the complexity and paradox of his daily life. Although clinging to a self-image as a decent fellow, the German soldier nonetheless committed terrible crimes in the name of National Socialism. When the war was finally over, and his country lay in ruins, the Landser faced a bitter truth: all his exertions and sacrifices had been in the name of a deplorable regime that had committed unprecedented crimes. With chapters on training, images of combat, living conditions, combat stress, the personal sensations of war, the bonds of comradeship, and ideology and motivation, Fritz offers a sense of immediacy and intimacy, revealing war through the eyes of these self-styled \"little men.\" A fascinating look at the day-to-day life of German soldiers, this is a book not about war but about men. It will be vitally important for anyone interested in World War II, German history, or the experiences of common soldiers throughout the world.",
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                "description": "In 1941 Berek Jakubowicz (now Benjamin Jacobs) was deported from his Polish village and remained a prisoner of the Reich until the final days of the war. His possession of a few dental tools and rudimentary skills saved his life. Jacobs helped assemble V1 and V2 rockets in Buchenwald and Dora-Mittelbau; spent a year and a half in Auschwitz, where he was forced to remove gold teeth from corpses; and survived the RAF attack on three ocean liners turned prison camps in the Bay of Lubeck. This is his story.",
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