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dc.contributor.authorPötzsch, Holger
dc.date.accessioned2022-11-02T10:10:11Z
dc.date.available2022-11-02T10:10:11Z
dc.date.issued2018-08-21
dc.description.abstractThe present chapter engages with the formal framing of friend and foe in the war genre. Asserting the significance of film for cultural forms of memory and a politics of the past, I sketch out the generic conventions through which particular notions of self and other are inscribed, before I conduct an analysis of Clint Eastwood’s <i>American Sniper</i> (2014) to flesh out what I term a cosmologic form of evil at play in the genre. Secondly, a reading of Nick Broomfield’s <i>Battle for Haditha</i> (2006) introduces an understanding of evil as a systemic property of war independent of individual intentions. Finally, I suggest an inherent banality of systemic evil that becomes conceivable as embedded in mundane everyday routines rather than bound towards the exceptional.en_US
dc.identifier.citationPötzsch H: Of Monsters and Men: Forms of Evil in War Films. In: Löschnigg, Sokolowska-Paryz. The Enemy in Contemporary Film, 2018. Walter de Gruyter p. 53-72en_US
dc.identifier.cristinIDFRIDAID 1583689
dc.identifier.doi10.1515/9783110591217-004
dc.identifier.isbn978-3-11-059121-7
dc.identifier.urihttps://hdl.handle.net/10037/27232
dc.language.isoengen_US
dc.publisherWalter de Gruyteren_US
dc.rights.accessRightsopenAccessen_US
dc.rights.holderCopyright © 2018 The Author(s)en_US
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0en_US
dc.rightsAttribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)en_US
dc.titleOf Monsters and Men: Forms of Evil in War Filmsen_US
dc.type.versionpublishedVersionen_US
dc.typeChapteren_US
dc.typeBokkapittelen_US


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Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)
Except where otherwise noted, this item's license is described as Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)