By Paul M. Edwards
Written by means of a well informed movie critic and Korean conflict student, this is often the single advisor solely dedicated to the examine of Hollywood and tv movies in line with the Korean warfare, 1950-1953. It opens with 8 brief essays, discussing the allure of the conflict movie style, executive and filmmaker cooperation, the isolation of Korean conflict movies from different struggle movies, why John Wayne did not make a Korean battle movie, the opposite actors who did, the plots of Korean warfare motion pictures, tv and Korean warfare movies, and the myths due to motion pictures. Eighty-four movies are then mentioned in alphabetically prepared entries.
The entries comprise creation unit, colour prestige, manufacturer, director, screenwriter, actors and actresses, motion picture size, and the author's numerical score of the movie. The observation locations each one movie in the context of different battle motion pictures, the Korean struggle, traits in Hollywood, and the social and political realities of the U.S.. the flicks are also indexed chronologically. manufacturers, administrators, screenwriters, actors, and actresses are listed by means of accountability and are integrated within the basic index. The ebook additionally offers a listing of 109 documentary motion pictures to be had for public viewing.
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Additional resources for A Guide to Films on the Korean War
On the other hand, there was plenty of support for Battle Taxi (1954) which portrayed the military effort to rescue downed pilots. Help was provided for The Bridges at Toko-Ri (1954) even though a lot of it was miniaturized, and aid was available for Cry for Happy (1961) which showed Americans establishing orphanages. Another film in which cooperation was denied was Prisoner of War (1954) which showed the hero (Ronald Reagan) making a confession of war crimes over radio. The U. S. Navy did not like the script of The Caine Mutiny (1954) with its portrayal of the seamy side of command.
Notes 1. Lawrence H. Suid, Guts and Glory: Great American War Movies, (Reading, Massachusetts: Addison-Wesley Publishing Company, 1978), 9. 2. Peter Biskind, Seeing is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties, (New York: Pantheon Books, 1983), 5. 3. Biskind, 59. 4. Biskind, 59. 5. Clayton R. Koppes and Gregory D.
Artistic endeavor, social messages, economic or political agendas, all play a role. "36 The Korean War films were designed to entertain, but in the process they portrayed a great deal of their understanding of the Korean War, America, the United Nations, and the Cold War. The values of freedom, liberty, fair play, the American way of life, pluralism, and diversity all continue to show up. There was, however, less support for the military mind. In an interesting paradox Americans were becoming more aware of the need for a large and powerful military and, at the same time, increasingly critical of the inefficient and unreasonable nature of many military decisions.