<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio), domestic propaganda occupied the screen of the newly emergent national cinemas, only to see its lucid message challenged and even subverted by the fast-evolving language of cinema. Part one of this paper looks at three non-fiction films, released in 1916: <italic>Battle of Somme, With Our Heroes at the Somme</italic> (<italic>Bei unseren Helden an der Somme</italic>) and <italic>Battle of Somme</italic> (<italic>La Bataille de la Somme</italic>), as paradigmatic propaganda takes on the eponymous historical battle from British, German and French points of view. Part two analyses two war-time Hollywood melodramas, David Wark Griffith’s <italic>Hearts of the World</italic> (1918) and Allen Holubar’s <italic>The Heart of Humanity</italic> (1919), and explains the longevity of the former with the powerful “text effect” of the authentic wartime footage included. Thus, while these WWI propaganda works do validate Virilio’s ideas of the integral connections between technology, war and cinema, and between cinema and propaganda, they also herald the emancipation of post-WWI film language.</p></abstract>

The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio), domestic propaganda occupied the screen of the newly emergent national cinemas, only to see its lucid message challenged and even subverted by the fast-evolving language of cinema. Part one of this paper looks at three non-fiction films, released in 1916: Battle of Somme, With Our Heroes at the Somme (Bei unseren Helden an der Somme) and Battle of Somme (La Bataille de la Somme), as paradigmatic propaganda takes on the eponymous historical battle from British, German and French points of view. Part two analyses two war-time Hollywood melodramas, David Wark Griffith’s Hearts of the World (1918) and Allen Holubar’s The Heart of Humanity (1919), and explains the longevity of the former with the powerful “text effect” of the authentic wartime footage included. Thus, while these WWI propaganda works do validate Virilio’s ideas of the integral connections between technology, war and cinema, and between cinema and propaganda, they also herald the emancipation of post-WWI film language.

The Great War: Cinema, Propaganda, and The Emancipation of Film Language

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

{"article-title":"The Great War: Cinema, Propaganda, and The Emancipation of Film Language"}

The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film...

The Great War: Cinema, Propaganda, and The Emancipation of Film Language

Online veröffentlicht: 19. Jan. 2018

Seitenbereich: 131 - 156

DOI: https://doi.org/10.1515/ausfm-2017-0006

Schlüsselwörter
cinema, technology, war, propaganda, film language

© 2017 Christina Stojanova, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

The Great War: Cinema, Propaganda, and The Emancipation of Film Language

Online veröffentlicht: 19. Jan. 2018

Seitenbereich: 131 - 156

DOI: https://doi.org/10.1515/ausfm-2017-0006

Schlüsselwörtercinema, technology, war, propaganda, film language

© 2017 Christina Stojanova, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Schlüsselwörter
cinema, technology, war, propaganda, film language