Chambers John Whiteclay Culbert David (37 results)

Condition: Good. New Ed. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Very Good. New Ed. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Fine. New Ed. Used book that is in almost brand-new condition. May contain a remainder mark. Better World Books: Buy Books. Do Good.

Condition: Good. New Ed. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: As New. Like New condition. A near perfect copy that may have very minor cosmetic defects.

paperback. Condition: Very Good. Open Books is a nonprofit social venture that provides literacy experiences for thousands of readers each year through inspiring programs and creative capitalization of books.

Paperback. Condition: Fair. No Jacket. Former library book; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Fine. 1st. 1st printing with number 1 in line. Fine - looks new with no wear or markings.

Paperback. Condition: Good. Text clean & bright; binding tight; minor wear to covers. 187 pages. Illustrated. Size: 5 1/2" x 8".

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Condition: Very Good. New Ed. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Good. New Ed. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Soft cover. Condition: Good. Good condition soft cover, some wear to cover and spine, rubbing to cover and spine, otherwise in a good readable condition.

Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,300grams, ISBN:9780195099676.

Soft Cover. Condition: Good. 2026, good condition but there are yellow highlighting marks inside.

Softcover. Condition: Bon. Ancien livre de bibliothèque. Légères traces d'usure sur la couverture. Salissures sur la tranche. Edition 1997. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Slight signs of wear on the cover. Stains on the edge. Edition 1997. Ammareal gives back up to 15% of this item's net price to charity organizations.

Paperback. Condition: As New. First Edition. 1st ed. 187p. Photos. Wraps. As new Copy.

Paperback. Condition: New. The immediacy and apparent truth of the visual image, plus film and television's ostensible ability to propel viewers back into the past, confers a sense of veracity on the most powerful historical films. Examining the effect of film and television on perceptions of the Second World War and history is the guiding purpose of this collection of original essays.

Paperback. Condition: New. BRAND NEW, Perfect Shape, No Remainder Mark,Fast Shipping With Online Tracking, International Orders shipped Global Priority Air Mail, All orders handled with care and shipped promptly in secure packaging, we ship Mon-Sat and send shipment confirmation emails. Our customer service is friendly, we answer emails fast, accept returns and work hard to deliver 100% Customer Satisfaction!

Hardcover. Condition: NEW CONDITION. Dust Jacket Condition: AS NEW DUST JACKET. First Edition, First Printing. //NO REMAINDER MARK//NO PREVIOUS OWNER MARKS OF ANY KIND (no names or inscriptions, no bookplate, no underlining, etc) //NOT PRICECLIPPED// NEW MYLAR COVER//.

Condition: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

PF. Condition: New.

hbk 187pp illustr ISBN :0195099664 excellent in dj almost as new.

Paperback. Condition: new. Paperback. The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Frontand Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage ofthe Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the societyand culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of warin the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love witha beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japaneseviewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the majorclimactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World WarII, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberatedHolocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance throughrepetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality." Examining the effect of film and television on perceptions of W Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: Good. Dust Jacket Condition: Good. Ex library hardback with DJ; usual stamps/markings. Published in 1996 by Oxford University Press. A good, clean copy. Ready for immediate despatch from UK. 12E*.

Paperback. Condition: new. Paperback. The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Frontand Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage ofthe Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the societyand culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of warin the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love witha beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japaneseviewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the majorclimactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World WarII, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberatedHolocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance throughrepetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality." Examining the effect of film and television on per Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

paperback. Condition: New. In shrink wrap. Looks like an interesting title!

Paperback. Condition: New. The immediacy and apparent truth of the visual image, plus film and television's ostensible ability to propel viewers back into the past, confers a sense of veracity on the most powerful historical films. Examining the effect of film and television on perceptions of the Second World War and history is the guiding purpose of this collection of original essays.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.