The Valour And The Horror Revisited

In January 1992 the Canadian Broadcasting Corporation (CBC) broadcast The Valour and the Horror, a three-part television series on Canada's role in World War II. It sparked a major controversy among viewers, war veterans, and historians. Brian and Terence McKenna, the authors-producers of the series, were accused of distorting historical facts, maligning individuals such as commanders Arthur Harris and Guy Simonds, presenting a biased account of events, and overstepping the line between journalism and drama. The Valour and the Horror Revisited brings together source documents, original essays, and commentaries to provide an analysis of the specific accusations and of larger questions concerning responsible journalism. Included in the collection are reports by David Bercuson and S.F. Wise, who were asked by the CBC ombudsman to assess the series; the CBC ombudsman's report; the McKennas' response to the ombudsman's report; the ombudsman's commentary on the McKennas' response; and three new essays by historians John Ferris, William McAndrew, and Scot Robertson on the incidents covered in the series - Canadian involvement in the battles in Hong Kong and Normandy, and the bombing of Germany. The Valour and the Horror Revisited addresses such important issues as the dangers of "docudrama," the calibre of the Canadian media, the meaning of the Canadian experience in the war, and the nature of history.

The Valour and the Horror Revisited brings together source documents, original essays, and commentaries to provide an analysis of the specific accusations and of larger questions concerning responsible journalism.

Since 1952, CBC television has played a unique role as the primary mass media purveyor of Canadian history. Yet until now, there have been no comprehensive accounts of Canadian history on television. Monica MacDonald takes us behind the scenes of the major documentaries and docudramas broadcast on the CBC, including in Explorations (1956–64) and the series Images of Canada (1972–76), The National Dream (1974), The Valour and the Horror (1992), and Canada: A People's History (2000–02). Drawing on a wide range of sources, MacDonald explores how producers struggled to represent the Canadian past under a range of external and internal pressures. Despite dramatic shifts in the writing of history over this period, she determines that television themes and interpretations largely remained the same. The greater change was in the production and presentation, particularly in the role of professional historians, as journalists emerged not only as the new producers of Canadian history on CBC television, but also as the new content authorities. A critique of public history through the lens of political economy, Recasting History reveals the conflicts, compromises, and controversies that have shaped the CBC version of the Canadian past.

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.

Explores the ominous campaign to change a nation's definition of itself

NATIONAL BESTSELLER FINALIST for the 2021 Ottawa Book Awards A masterful telling of the way World War Two has been remembered, forgotten, and remade by Canada over seventy-five years. The Second World War shaped modern Canada. It led to the country's emergence as a middle power on the world stage; the rise of the welfare state; industrialization, urbanization, and population growth. After the war, Canada increasingly turned toward the United States in matters of trade, security, and popular culture, which then sparked a desire to strengthen Canadian nationalism from the threat of American hegemony. The Fight for History examines how Canadians framed and reframed the war experience over time. Just as the importance of the battle of Vimy Ridge to Canadians rose, fell, and rose again over a 100-year period, the meaning of Canada's Second World War followed a similar pattern. But the Second World War's relevance to Canada led to conflict between veterans and others in society--more so than in the previous war--as well as a more rapid diminishment of its significance. By the end of the 20th century, Canada's experiences in the war were largely framed as a series of disasters. Canadians seemed to want to talk only of the defeats at Hong Kong and Dieppe or the racially driven policy of the forced relocation of Japanese-Canadians. In the history books and media, there was little discussion of Canada's crucial role in the Battle of the Atlantic, the success of its armies in Italy and other parts of Europe, or the massive contribution of war materials made on the home front. No other victorious nation underwent this bizarre reframing of the war, remaking victories into defeats. The Fight for History is about the efforts to restore a more balanced portrait of Canada's contribution in the global conflict. This is the story of how Canada has talked about the war in the past, how we tried to bury it, and how it was restored. This is the history of a constellation of changing ideas, with many historical twists and turns, and a series of fascinating actors and events.

The Encyclopedia of Television, second edtion is the first major reference work to provide description, history, analysis, and information on more than 1100 subjects related to television in its international context. For a full list of entries, contributors, and more, visit the Encyclo pedia of Television, 2nd edition website.

He concludes with a discussion of the recent international success of documentary television as one of Canada's leading cultural exports, examining the effects of globalization and looking forward to the future of this genre. While principally an overview of the last half century and an analysis of current conditions, Documentary Television in Canada also includes detailed analysis of selected programs, such as the For the Record series on schizophrenia, "Warrendale" (by Allan King), "Images of Canada" (by Vincent Tovell), "The Valour and The Horror" episode, "Death by Moonlight" and "Shooting Indians" (by Ali Kazimi) among others.