Chapter

Conclusion

Jonathan Rayner

in The Naval War Film

Published by Manchester University Press

Published in print March 2007 | ISBN: 9780719070983
Published online July 2012 | e-ISBN: 9781781701157 | DOI: http://dx.doi.org/10.7228/manchester/9780719070983.003.0024
Conclusion

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The naval film can be defined as a particularly conservative form of national, ideological expression. It draws on, propagates and reinforces a range of nostalgic, romantic, and patriotic readings and appeals, closely associated with both naval tradition and national identity, in the construction of a consensual popular history. The post-modern history films, far from opening up past events for alternative interpretations, reaffirm authorised, conclusive readings of history for normative ideological purposes. They aim at an ‘integration, synthesis, and totality’ of ‘History’, and engage in a replaying of the memory's official meaning. All war films adopt a pseudo-historical setting, placing their fictional narratives within the context of larger campaigns or commonly known events. The naval war film shares significant features of narrative construction, characterisation, representational strategy and ideological intent with the war film depicting land combat.

Keywords: naval film; post-modern history; narrative construction; land combat; patriotic readings

Chapter.  7310 words. 

Subjects: Film

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