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| Srl | Item |
| 1 |
ID:
192657
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| Summary/Abstract |
On 24 February 2022, Russia launched a full-scale invasion of Ukraine in a major escalation of a war that had been persisting since 2014. This article explores three of Sergei Loznitsa’s films set in Ukraine and examines the way in which their shared observational style informs the Russia-Ukraine war and may influence viewers’ perceptions of the complexities of the conflict. A close analysis reveals that the observational mode used in Maidan (2014), Donbass (2018), and The Kiev Trial (2022) has two primary effects. First, in Donbass and The Kiev Trial, the unfiltered style serves as a contrast to the often farcical and ‘staged’ content, thereby exposing the lies underpinning Soviet presence in Ukraine and the current Russian invasion. Second, in addition to exposing Russian misinformation, Loznitsa’s observational style in Maidan and Donbass facilitates identification with the Ukrainian people by visually and auditorily immersing the viewer in the world on the screen. The article concludes with a discussion of the significance of Loznitsa’s work in shaping the public’s perception of – and continued commitment to – the war in Ukraine.
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| 2 |
ID:
190719
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| Summary/Abstract |
This article examines the subversion of the hero soldier figure in three Vietnam War films from three different nations that faced defeat in Vietnam: Coppola’s Apocalypse Now, Schoendoerffer’s Dien Bien Phu, and Jeong Ji-yeong’s White Badge. A close analysis reveals that all three films undermine the image of the virtuous and powerful hero soldier through recurring stylistic elements. Apocalypse Now, through the ‘Ride of the Valkyries’ helicopter sequence – as well as the opening and ending sequences – portrays the American soldier as a barbaric aggressor. Dien Bien Phu, meanwhile, visually undermines the image of the powerful hero soldier through cinematographic techniques which portray the French soldiers in the field as small and powerless. Finally, White Badge – which, unlike the two other films, takes place in the post-war period – subverts the image of the hero soldier through its use of auditory and visual elements to portray the Korean soldier as aggressor and, first and foremost, victim. The article concludes with a discussion of how the three films influence audiences’ perceptions of those who fought in Vietnam.
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