The Lion Has Wings

Since the Second World War, depictions of Royal Air Force operations in film and television drama have become so numerous that they make up a genre worthy of scholarly attention. In this illuminating study, S. P. MacKenzie explores the different ways in which the men of RAF Bomber Command have been represented in dramatic form on the big and small screen from the war years to the present day. Bomber Boys on Screen is the first in-depth study of how and why the screen-drama image of those who flew, those who directed them, and those who provided support for RAF bomber operations has changed over time, sometimes in contested circumstances. Until now dramas that focus on Bomber Command have tended to be mentioned only in passing or studied in isolation, despite the prevalence of surveys of both the British war film genre and of aviation cinema. In Bomber Boys on Screen MacKenzie examines the development, presentation, and reception of significant dramas on a decade-by-decade basis. Titles from the beginning of the war (The Lion Has Wings, 1939) to the start of new century (Bomber's Moon, 2014) are situated in the context of technical possibilities and limitations, evolving social and cultural norms in the United Kingdom and elsewhere, and the development of moral and utilitarian controversies surrounding the wartime bomber offensive directed against Nazi Germany. While the focus is on feature films and television plays, reference is also made to documentaries, memorials, veterans' organizations, book titles, war comics, and other representations of the war fought by Bomber Command.

A focused study on Michael Powell and Emeric Pressburger's cinematic contributions to the war effort, arguing for the centrality of propaganda to their work as film artists. Michael Powell and Emeric Pressburger are widely hailed as two of the greatest filmmakers in British cinema history. The release of their first movie, The Spy in Black, barely preceded the beginning of World War Two, and a number of their early masterworks, including The Life and Death of Colonel Blimp, A Canterbury Tale, and A Matter of Life and Death, were produced in the service of the war effort. Through exploring the relationship between art and propaganda, this book shows that Powell and Pressburger saw no contradiction between their aesthetic ambitions and their cinematic war work: propaganda imperatives were highly conducive to their objectives as both commercial cinema practitioners and artists. Drawing on production materials from the archives of the British Film Institute, this book charts three phases in Powell and Pressburger's wartime career: from first-time collaborators who strive to reconcile popular cinematic forms with developing notions of what constitutes effective propaganda; to accomplished, and sometimes controversial, propagandists whose movies center upon Britain's relations with its enemies and allies; to filmmakers whose responsiveness to the propaganda requirements of the late war is matched by a focus, shared by the Ministry of Information, on what the post-war future would bring.

Accompanied by her closest friends, Malora leaves the safety of Mount Kheiron for the bush then the bustling city of the Ka in search of Sky, the stallion who used to lead Malora's herd of horses, and finds herself faced with making decisions about her future in new ways.

Publisher description

World War II has been an endlessly fertile film subject since the late 1930s-even before the United States entered combat. This sweeping study of Hollywood's depictions of the war, and of the motion picture industry during wartime, describes more than 450 films in roughly chronological order, while providing a historical perspective on the times and the events depicted. Included are such pictures as Casablanca, The Battle of Midway, Der Fuhrer's Face and Letters from Iwo Jima.

"British propaganda brought America to the brink of war, and left it to the Japanese and Hitler to finish the job." So concludes Nicholas Cull in this absorbing study of how the United States was transformed from isolationism to belligerence in the years before the attack on Pearl Harbor. From the moment it realized that all was lost without American aid, the British Government employed a host of persuasive tactics to draw the US to its rescue. With the help of talents as varied as those of matinee idol Leslie Howard, Oxford philosopher Isaiah Berlin and society photographer Cecil Beaton, no section of America remained untouched and no method--from Secret Service intrigue to the publication of horrifying pictures of Nazi atrocities--remained untried. The British sought and won the support of key journalists and broadcasters, including Edward R. Murrow, Dorothy Thompson and Walter Winchell; Hollywood film makers also played a willing part. Cull details these and other propaganda activities, covering the entire range of the British effort. A fascinating story of how a foreign country provoked America's involvement in its greatest war, Selling War will appeal to all those interested in the modern cultural and political history of Britain and the United States.

An exposé of Hitler's relationship with film and his influence on the film industry A presence in Third Reich cinema, Adolf Hitler also personally financed, ordered, and censored films and newsreels and engaged in complex relationships with their stars and directors. Here, Bill Niven offers a powerful argument for reconsidering Hitler's fascination with film as a means to further the Nazi agenda. In this first English-language work to fully explore Hitler's influence on and relationship with film in Nazi Germany, the author calls on a broad array of archival sources. Arguing that Hitler was as central to the Nazi film industry as Goebbels, Niven also explores Hitler's representation in Third Reich cinema, personally and through films focusing on historical figures with whom he was associated, and how Hitler's vision for the medium went far beyond "straight propaganda." He aimed to raise documentary film to a powerful art form rivaling architecture in its ability to reach the masses.