Some Smothering Dreams: The Combat Film in Contemporary Hollywood

Genre and Contemporary Hollywood

Volumn , Issue , 2019, Pages 62-76

  Hammond, Michael ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85201911616     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (21)

1. David Cook, ‘Ballistic Balletics: Styles of Violent Representation in the Wild Bunch and After’, in Stephen Prince (ed.), Sam Peckinpah’s The Wild Bunch (Cambridge: Cambridge University Press, 1999), pp. 130–54.
2. Thomas Elsaesser, ‘The Pathos of Failure: American Films in the 1970s – Notes on the Unmotivated Hero’, Monogram, 6 (1975).
3. Toby Herzog, Vietnam War Stories: Innocence Lost (London: Routledge, 1992).
4. Stephen Prince, A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980–1989 (New York: Scribners, 2000), p. 316.
5. Yvonne Tasker, Spectacular Bodies: Gender, Genre and the Action Picture (London: Routledge, 1993) pp. 93–4.
6. Tim O’Brien, If I Die in a Combat Zone (1973, reprint London: Flamingo, 1995) p. 126.
7. Thomas Elsaesser, ‘Francis Ford Coppola and Bram Stoker’s Dracula’, in Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema (London: Routledge, 1998).
8. Thomas Elsaesser and Michael Weden, ‘The Hollow Heart of Hollywood: Sound Space in Apocalypse Now’, in Gene Moore (ed.), Conrad on Film (Oxford: Oxford University Press, 1997).
9. David Halberstam, ‘Platoon’, in Robert Brent Toplin (ed.), Oliver Stone’s USA: Film, History, and Controversy (Lawrence: University of Kansas Press, 2000), p. 111.
10. Alexander Walker, ‘Overwrought and Over Here’, Daily Mail, 23 April 1987, p. 28.
11. Paul Fussell, The Great War and Modern Memory (New York: Oxford University Press, 1975).
12. Kevin Bowen, ‘Strange Hells: Hollywood in Search of America’s Lost War’, in Linda Dittmar and Gene Michaud (eds), From Hanoi to Hollywood: The Vietnam War in American Film (New York: Rutgers University Press, 1990), p. 234.
13. Alexander Walker, ‘Over Wrought and Over Here’, p. 28.
14. William Goldman, Which Lie Did I Tell?: More Adventures in the Screen Trade (London: Bloomsbury, 2000) p. 83.
15. Constance Balides, ‘Jurassic Post-Fordism: Tall Tales of Economics in the Theme Park’, Screen, vol. 41, no. 2, Summer 2000, p. 153.
16. Ben Shephard, ‘“The Doughboy” D-Day: Steven Spielberg, Saving Private Ryan’, Times Literary Supplement, 18 April 1998, p. 23.
17. James Jones, The Thin Red Line (1962, reprint London: Hodder and Stoughton, 1998) p. 46.
18. Jerry Glover, ‘All Guns Blazing’, Inside Film (London: A & R Publishing, 1999), no. 3, pp. 18–19.
19. ‘Interview: Samuel Fuller Talking to Jean Louis Noames’, Samuel Fuller (Edinburgh: Edinburgh Film Festival 69, 1969), p. 97.
20. Justin Wyatt, High Concept: Movies and Marketing in Hollywood (Austin: University of Texas Press, 1994).
21. ‘Dulce Et Decorum Est’, Dominic Hibberd (ed.), Wilfred Owen: War Poems and Others (London: Chatto and Windus, 1973).