War-torn Tales

Literature, Film and Gender in the Aftermath of World War II
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Danielle Hipkins
415 g
226x149x20 mm

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Contents: Gill Plain/Danielle Hipkins: Introduction: Telling Tales - Gill Plain: Getting Things Straight for the Postwar: Realigning Gender and Nation in The Way to the Stars - Loredana Polezzi: 'Mal d'Africa' and its Memory: Heroes and Anti-Heroes in Pre- and Postwar Readings of the Italian Presence in Africa - Anna Richards: 'Change and Fidelity in One': Women, Mourning and the Reconstruction of Germany in the Work of Elisabeth Langgässer and Ilse Langner - Danielle Hipkins: Were Sisters Doing It for Themselves? Prostitutes, Brothels and Discredited Masculinity in Postwar Italian Cinema - Sarah Leahy: Gender Panic: The 'garce' and the 'Good Girl' in Postwar French Cinema - Kate Taylor: From 'Wise Mother' to Prostitute: Women as Duality in Postwar Japan - Lynne Attwood: From the 'New Soviet Woman' to the 'New Soviet Housewife': Women in Postwar Russia - Christopher Lloyd: Women's Resistance Narratives in France: Redefining Gender and Genre - Andrew Spicer: Echoes of War: Tunes of Glory and the Demise of the Officer Class in British Cinema - Erica Carter: Men in Cardigans: Canaris and the 1950s West German Good Soldier - Brendon Nicholls: The Beat Generation: Literature, Gender and Race in Postwar America - Teresa Ludden: Female Allegory and the Critique of German History in Helma Sanders-Brahms's Deutschland Bleiche Mutter - Phyllis Lassner: 'Words That Can't Be Spoken': Lesbian Love in the Third Reich.
This book is the outcome of a successful workshop held in Leeds in September 2003 and explores the effects of World War II on the representation of gender in post-war literature, film and popular culture, juxtaposing Western European experience with US, Soviet and Japanese. It aims to outline the different ways in which these representations evolved in post-war attempts both to re-establish social order and reconstruct national identity. It gives the reader an overview of the similarities and differences that have emerged in the representation of war and gender in different cultures and media, as a result of social expectations, political change and individual artistic innovation. The essays are linked by their concern with three key questions: how are emotion and gender represented in relation to the experience of war; what is the impact of war on the dynamic between the genders; and, as the memory of war recedes, is it possible to identify chronological shifts in the artistic response to the conflict?

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