Horrors of War: The Undead on the Battlefield
Battlefields have commonly been thought of areas the place the spirits of the lifeless linger, and pop culture brings these suggestions to existence. Supernatural stories of battle instructed in print, on display, and in different media depict angels, demons, and legions of the undead scuffling with against—or alongside—human infantrymen. Ghostly conflict ships and phantom plane stick with it their never-to-be-completed missions, and the spirits—sometimes corpses—of useless infantrymen go back to confront the enemies who killed them, comrades who betrayed them, or leaders who sacrificed them.
In Horrors of struggle: The Undead at the Battlefield, Cynthia J. Miller and A. Bowdoin Van Riper have assembled essays that discover the that means and value of those stories. one of the questions that the quantity seeks to reply to are: How do supernatural tales have interaction with cultural attitudes towards warfare? In what methods do those tales mirror or problem the preferred thoughts of specific wars? How do they ask us to reconsider approximately battlefield heroism, army ethics, and the politics of sacrifice? Divided into 4 sections, chapters study undead struggle tales in movie (Carol for one more Christmas, The Devil's Backbone), tv (The Twilight Zone), literature (The Bloody purple Baron, Devils of D-Day), comics (Weird battle stories, The Haunted Tank), picture novels (The conflict of the Trenches), and gaming (Call of accountability: global at War).
Featuring contributions from a various staff of overseas students, those essays handle such topics as vast enemies and enemies made giant, legacies and thoughts of battle, and the conflict lifeless who refuse to relaxation. Drawing jointly tales from throughout wars, branches of provider, and generations of soldiers—and that includes greater than fifty illustrations—Horrors of struggle could be of curiosity to students of movie, pop culture, army historical past, and cultural history.
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Extra resources for Horrors of War: The Undead on the Battlefield
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Indb 11 6/8/15 6:11 AM 12 R O B E R T A . ”34 Furthermore, the very genre of horror is rooted in xenophobia, with its monsters standing in for any “predatory Other”35 that might threaten the social fabric of our ordered world. Adding to the monstrosity of the South, there is also an overlay of imperialism, just in case any viewers are still left wondering for whom they should root. ”36 While the notion of “empire” is nearly absent in the book, it is a recurrent theme in the film. In one scene, Henry shows Abraham a map of North America with the Southern states shaded in magenta, ominously noting that “they [vampires] have built an empire in the South,” while in another, the diabolic Jack Barts informs Lincoln, “There’s thousands of us here.
Our ancestors are portrayed as blood-sucking demons to be eradicated from the face of the planet. Of course, no other ethnic or culture group in modern Amerika [sic] could be portrayed as such. [Imagine] a movie where Blacks, Jews, Hispanics or Asians are all depicted as vampires who have to be exterminated by the US president and his army. Yes, it’s impossible to imagine. But no insult is too gross when it comes to Southerners, the perpetual whipping-boy of the United States. . 57 Cushman’s comments—which were accompanied by a satirical, faux movie poster for Jefferson Davis: Yankee Hunter—reflect a perception among Southerners, and many conservative whites in other parts of the United States, that they have become the only acceptable “other” in a politically correct, “post-racial” society.