.War film is a concerned with, typically about, or battles, with combat scenes central to the drama. It has been strongly associated with the 20th century. The fateful nature of battle scenes means that war films often end with them. Themes explored include combat, survival and escape, camaraderie between soldiers, sacrifice, the futility and inhumanity of battle, the effects of war on society, and the moral and human issues raised by war.

This Means War Trailer 2012 - Official Movie Trailer in HD - directed by McG - starring Tom Hardy, Chris Pine and Reese Witherspoon. Two spies go to war with one another after they both fall in. The Great War explores how a brilliant PR man bolstered support for the war in a country hesitant to put lives on the line for a foreign conflict; how President Woodrow Wilson steered the nation.

War films are often categorized by their milieu, such as the Korean War; the most popular subject is the. The stories told may be,.

Critics have noted similarities between the and the war film.Nations such as China, Indonesia, Japan, and Russia have their own traditions of war film, centred on their own revolutionary wars but taking varied forms, from action and historical drama to wartime romance.Subgenres, not necessarily distinct, include, comedy, and documentary. There are similarly subgenres of the war film in specific such as the of North Africa, the in the Second World War, or; and films set in specific domains of war, such as the infantry, the air, at sea, or at camps. Further information:The war film genre is not necessarily tightly defined: the, for example, speaks of 'films to grapple with the Great War' without attempting to classify these. However, some directors and critics have offered at least tentative definitions. The director defined the by saying that 'a war film’s objective, no matter how personal or emotional, is to make a viewer feel war.' Identified four narrative elements of the war film within the context of production: a) the suspension of civilian morality during times of war, b) primacy of collective goals over individual motivations, c) rivalry between men in predominantly male groups as well as marginalization and objectification of women, and d) depiction of the reintegration of veterans. In, 1962The film critic Stephen Neale suggests that the genre is for the most part well defined and uncontentious, since war films are simply those about war being waged in the 20th century, with combat scenes central to the drama.

However, Neale notes, films set in the or the American of the 19th century were called war films in the time before the First World War. The critic Julian Smith argues, on the contrary, that the war film lacks the formal boundaries of a genre like the, but that in practice, 'successful and influential' war films are about modern wars, in particular World War II, with the combination of mobile forces and mass killing.

The film scholar Kathryn Kane points out some similarities between the war film genre and the Western. Both genres use opposing concepts like war and peace, civilization and savagery. War films usually frame as a conflict between 'good' and 'evil' as represented by the and whereas the Western portrays the conflict between civilized settlers and the savage indigenous peoples. James Clarke notes the similarity between a Western like 's and 'war-movie escapades' like.Film historian states that she began with a preconception of what the war film genre would be, namely thatWhat I knew in advance was what presumably every member of our culture would know about World War II combat films—that they contained a, a group of mixed types of people, and a of some sort. They take place in the actual combat zones of World War II, against the established enemies, on the ground, the sea, or in the air.

They contain many repeated events, such as mail call, all presented visually with appropriate, equipment, and iconography of battle.Further, Basinger considers to provide a definition-by-example of 'the World War II combat film', in which a diverse and apparently unsuited group of 'hastily assembled volunteers' hold off a much larger group of the enemy through their 'bravery and tenacity'. She argues that the combat film is not a subgenre but the only genuine kind of war film.

Since she notes that there were in fact only five true combat films made during the Second World War, in her view these few films, central to the genre, are outweighed by the many other films that lie on the margins of being war films. However, other critics such as Russell Earl Shain propose a far broader definition of war film, to include films that deal 'with the roles of civilians, espionage agents, and soldiers in any of the aspects of war (i.e. Preparation, cause, prevention, conduct, daily life, and consequences or aftermath.)' Neale points out that genres overlap, with combat scenes for different purposes in other types of film, and suggests that war films are characterised by combat which 'determines the fate of the principal characters'. This in turn pushes combat scenes to the climactic ends of war films.

Not all critics agree, either, that war films must be about 20th-century wars. James Clarke includes 's Oscar-winning (1990) among the war films he discusses in detail; it is set in the, and he lists six other films about that war which he considers 'notable'.The military historian 'despairs' at how film-makers from America and Britain 'play fast and loose with the facts', yet imply that 'their version is as good as the truth.' For example, he calls the 2000 American film a 'shameless deception' for pretending that a US warship had helped to win the Battle of the Atlantic—seven months before America entered the war.

He is equally critical of 's 2017 film with its unhistorically empty beaches, low-level air combat over the sea, and rescues mainly by the 'little ships'. Beevor feels, however, that European film-makers are often 'far more scrupulous'; for example, in his view the 2004 German film accurately depicted the historical events of Hitler's final days in his Berlin bunker, and he considers the 1965 French film, set in Vietnam, 'the greatest war movie ever made.' The 1966 film is, he argues, a close second. History American Civil War The costliest war in U.S. History in terms of American life, this war has been the subject of, or the backdrop to, numerous films, documentaries and mini-series. One of the earliest films using the Civil War as its subject was 's 1910 silent picture,. Films that have the war as its main subject, or about a certain aspect of the war include the 1989 film, about the first formal unit of the Union Army during the American Civil War to be made up entirely of black men.

Some films such as focused on a single battle during the war, or even on a single incident, like the French short film, ( An Occurrence at Owl Creek Bridge). Others like the 1993 miniseries spanned the entire breadth of the war. Some films deal with the human aspects of the war, such as (1951), or (1965), on the tragedy that the war inflicted on the civilian population. 's is the most watched documentary in the history of. 1918 film poster for Die grosse Schlacht in Frankreich ( The Great Battle in France), with in the background The Spanish–American War The first war films come from the of 1898. Short 'actualities' – documentary film-clips – included Burial of the Maine Victims, Blanket-Tossing of a New Recruit, and Soldiers Washing Dishes. These non-combat films were accompanied by 'reenactments' of fighting, such as of 's 'Rough Riders' in action against the Spanish, staged in the United States.

First World War. Further information:During the First World War, many films were made about life in the war. Topics included prisoners of war, covert operations, and military training. Both the Central Powers and the Allies produced war documentaries.

The films were also used as propaganda in neutral countries like the United States. Among these was a film shot on the Eastern Front by official war photographer to the Central Powers,: (1915), depicting the, disastrous for the Austrians, with incidents reenacted using soldiers as extras. The 1915 Australian film (also known as Deeds that Won Gallipoli) by was described by the Motion Picture News as 'a really good war story, which is exceptional'. Staged scene of British troops advancing through barbed wire from, 1916The 1916 British film, by two official cinematographers, and John McDowell, combined documentary and propaganda, seeking to give the public an impression of what was like. Much of the film was shot on location at the Western Front in France; it had a powerful emotional impact. It was watched by some 20 million people in Britain in its six weeks of exhibition, making it what the critic called 'one of the most successful films of all time'.

The 1925 American film The Big Parade depicted unglamorous elements of war: the protagonist loses his leg, and his friends are killed. 's (1927) was the first film (in any genre), and the only silent film, to win an Oscar for best picture. Later films of varied genres that deal with the First World War include 's 'colossal epic', both war film and biopic (1962), shot in the then unfamiliar and exciting, and described by as 'maybe the greatest screenplay ever written for the motion-picture medium'; 's satirical anti-war musical comedy based on 's play of the same name, (1969); and Spielberg's war drama (2011) based on 's. Spanish Civil War.

Further information:The has attracted directors from different countries. 's (1943), based on 's, portrays the fated romance between an American played by and a partisan played by against the backdrop of the civil war. The epic 168 minute film with its landscapes shot in Technicolor and a 'beautiful' orchestral score was a success both with audiences and with critics. 's (1950) uses 's to protest against war. 's (The Hunt, 1966) uses the metaphor of hunting to criticise the aggressiveness of Spanish.

It won the at the in 1966. 's ( Tierra y Libertad, 1995), loosely based on 's, follows a British communist through the war to reveal the painful contradictions within the anti-fascist Republican side. Tornado outbreak april 3 1974. Korean War.

About to launch from the in (1944)In America, documentaries were produced in various ways: General Marshall commissioned the propaganda series from Frank Capra; the War Department's Information-Education Division started out making training films for the U.S. Air Force and U.S. Navy; the Army made its own through the U.S. Signal Corps, including 's. Made films with propaganda messages about America's allies, such as (1942), which portrayed a British family on the home front; (1943) showed Norwegian resistance fighters, and (1943) showed the and its. Towards the end of the war popular books provided higher quality and more serious stories for films such as (1943), 's (1944), and 's (1945). And visiting in 1935.

The studio made propaganda films such as (1935) and (1945).The similarly made films during the Second World War, for propaganda and other purposes. In Germany, the brought out ('Victory in the West', 1941). Other Nazi propaganda films had varied subjects, as with (1945), which depicts stubborn resistance in the to the invading French troops under. The propaganda minister chose the historical subject as suitable for the worsening situation facing Nazi Germany when it was filmed from October 1943 to August 1944. At over eight million marks, using thousands of soldiers as extras and 100 railway wagonloads of salt to simulate snow, it was the most costly German film made during the war. The actual siege ended with the surrender of the town; in the film, the French generals abandon the siege.For Japan, the war began with the, which the Japanese authorities called 'The China Incident'.

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The government dispatched a 'pen brigade' to write and film the action in China with 'humanist values'. 's (1939) for instance, shot on location in China, 's, and 's (1938) show the common Japanese soldier as an individual and as a family man, and even enemy Chinese soldiers are presented as individuals, sometimes fighting bravely.

Once war with the United States was declared, the Japanese conflict became known as the. Japanese film critics worried that even with Western film techniques, their film output failed to represent native Japanese values. The historian found that Japanese wartime films had been largely forgotten, as 'losers do not get reruns', yet they were so subtle and skilful that Frank Capra thought Chocolate and Soldiers unbeatable. Heroes were typically low-ranking officers, not, calmly devoted to his men and his country. These films did not personalise the enemy and therefore lacked hatred, though Great Britain could figure as the 'cultural enemy'. For Japanese film-makers, war was not a cause but more like a natural disaster, and 'what mattered was not whom one fought but how well'. Asian enemies, especially the Chinese, were often portrayed as redeemable and even possible marriage partners.

Japanese wartime films do not glorify war, but present the Japanese state as one great family and the Japanese people as an 'innocent, suffering, self-sacrificing people'. Dower comments that the perversity of this image 'is obvious: it is devoid of any recognition that, at every level, the Japanese also victimized others.' Shooting a scene from on location in, Netherlands, 1977According to Andrew Pulver of The Guardian, the public fascination with war films became an 'obsession', with over 200 war films produced in each decade of the 1950s and 1960s.

War film production in the United Kingdom and United States reached its zenith in the mid 1950s. Its popularity in the United Kingdom was brought on by the critical and commercial success of 's (1953). Like others of the period, The Cruel Sea was based on a bestselling novel, in this case the former naval commander 's story of the. Others, like (1954), with its exciting tale of the inventor 's unorthodox and its distinctive, were true stories. The Dam Busters became the most popular film in Britain in 1955, and remained a favourite as of 2015 with a 100% score on, though, partly because it celebrated an 'exclusively British victory', it failed to break into the American market.

A large number of war films were made in the 1955–58 period in particular. In 1957 alone, and, and the highly successful, critically acclaimed pictures, which won the Academy Award for Best Picture that year, and were released. Some, such as Bitter Victory, focused more on the psychological battle between officers and egotism rather than events during the war. The Bridge on the River Kwai brought a new complexity to the war picture, with a sense of moral uncertainty surrounding war. By the end of the decade the 'sense of shared achievement' which had been common in war films 'began to evaporate', according to Pulver.films in the 1950s and 1960s could display spectacular heroics or self-sacrifice, as in the popular (1949) starring. Marines considered Sands of Iwo Jima visually authentic, but found Lewis Milestone's (1955), with its attention to the lives of the men, the more realistic film.

The formula for a successful war film consisted, according to Lawrence Suid, of a small group of ethnically diverse men; an unreasonable senior officer; cowards became heroic, or died. Jeanine Basinger suggests that a traditional war film should have a hero, a group, and an objective, and that the group should contain 'an Italian, a Jew, a cynical complainer from Brooklyn, a sharpshooter from the mountains, a midwesterner (nicknamed by his state, 'Iowa' or 'Dakota'), and a character who must be initiated in some way'. Films based on real missions, like (1952) based on the, and (1956) based on the capture of the German commander of Crete, inspired fictional adventure films such as (1961), (1964) and (1968). These used the war as a backdrop for spectacular action. Supposed realism: the 's 's team simulating the with a wall of fire instead of explosions, using planes such as converted to resemble, and generating smoke 2008produced the 178 minute documentary drama (1962), based on the first day of the, achieving commercial success and Oscars.

It was followed by large-scale but thoughtful films like 's (1962), and quasi- all-star epics filmed in Europe such as (1965), (1969), (1969), (1976) and (1977). In Lawrence Suid's view, The Longest Day 'served as the model for all subsequent combat spectaculars'. However, its cost also made it the last of the traditional war films, while the controversy around the help given by the U.S. Army and Zanuck's 'disregard for Pentagon relations' changed the way that Hollywood and the Army collaborated.Zanuck, by then an executive at, set up an American-Japanese co-production for 's (1970) to depict what 'really happened on December 7, 1941' in the surprise. The film, panned by and, was a major success in Japan.

Its realistic-looking attack footage was reused in later films such as (1976), (1980), and (2008).The story was revisited in (2001), described by The New York Times as a 'noisy, expensive and very long new blockbuster', with the comment that 'for all its epic pretensions (as if epic were a matter of running time, tumescent music and earnest voice-over pronouncements), the movie works best as a bang-and-boom action picture'.' S (1998) uses hand-held camera, sound design, staging and increased audio-visual detail to defamiliarise viewers accustomed to conventional combat films, so as to create what film historian Stuart Bender calls 'reported realism', whether or not the portrayal is genuinely more realistic. Jeanine Basinger notes that critics experienced it as 'groundbreaking and anti-generic', with, in James Wolcott's words, a 'desire to bury the cornball, recruiting poster legend of John Wayne: to get it right this time'; and that combat films have always been 'grounded in the need to help an audience understand and accept war'. Its success revived interest in World War II films. Others tried to portray the reality of the war, as in 's (1993), which The New York Times said 'goes about as far as a movie can go in depicting modern warfare as a stomach-turning form of mass slaughter.' Military–film industry relations.

See also:Many war films have been produced with the cooperation of a nation's military forces. Since the Second World War, the has provided ships and technical guidance for films such as. The assisted with, and, which were filmed on Air Force bases; Air Force personnel appeared in many roles. Critics have argued that the film Pearl Harbor's US-biased portrayal of events is a compensation for technical assistance received from the US armed forces, noting that the premiere was held on board a U.S. Navy carrier. In another case, the U.S. Navy objected to elements of, especially mutiny on board an American naval vessel, so the film was produced without their assistance.

The film historian Jonathan Rayner observes that such films 'have also clearly been intended to serve vital propagandist, recruitment and public relations functions'. National traditions Chinese The first Chinese war films were newsreels like (1911) and (1913). Still in films such as 's (1925), war featured mainly as background. Only with the Second Sino–Japanese War from 1937 onwards did war film become a serious genre in China, with nationalistic films such as 's (1938) The Chinese Civil War, too, attracted films such as 's (1952). A more humanistic film set in the same period is 's The Cradle (1979), while more recent large-scale commercial films include 's (2009). Chinese directors have repeatedly attempted to cover the atrocities committed by the Japanese during the (1937–1938), with films such as the political melodrama, 's, and the 'contrived Sino–Japanese romance'.

's epic Chinese film (2011), based on 's novel, portrays the violent events through the eyes of a 13-year-old girl. Indonesian.

The in combat, in a scene from 's, 1950Many deal with the occupation of the archipelago by the Japanese during the Second World War. 's ( Mementos, literally 'Two Eye Marks', 1985) covers the limited nationalist resistance to Dutch colonial rule in the 1930s. A third group of films such as ( Six Hours in Yogyakarta, 1951) and ( Attack at Dawn, 1983) covers the (1945–1949).

Two other films about the same period portray the Indonesian equivalent of the Chinese: 's ( The Long March, literally 'Blood and Prayer', 1950) and ( They Return, 1975). Each of these films interprets the past from the perspective of its own time.The more recent Merdeka (Freedom) trilogy (2009–2011), starting with ('Red and White', the colours of the flag of the new Indonesia), revisits the campaign for independence through the lives of a diverse group of cadets who become guerillas.Karya's (1979) looks at Indonesia's struggle for independence through about the (1825–1830), though the colonial enemy was the same, the. Deanne Schultz considered it 'a valuable interpretation' of that 'embodies the best of popular Indonesian cinema.' It was the first Indonesian film to become well known internationally. Russia's 'cinema front': (left) directing the filming of, 1987War has been Russian cinema's major genre, becoming known indeed as the 'cinema front', and its war films ranged from grim portrayals of atrocities to sentimental and even quietly subversive accounts.

's popular and 'beautiful' (1943) depicted two stereotypical Soviet soldiers, a quiet Russian and an extrovert southerner from Odessa, singing in his dugout.The many Russian films about the Second World War include both large-scale epics such as 's (1985) and 's more psychological (1957) on the cruel effects of war; it won the 1958 Palme d'Or at Cannes. Japanese. See also:, andJapanese directors have made popular films such as (1959), (1971) and (1967) from a Japanese perspective.

These 'generally fail to explain the cause of the war'. In the decades immediately after the Second World War, Japanese films often focused on human tragedy rather than combat, such as (1956), (1959). From the late 1990s, films started to take a positive view of the war and of Japanese actions. These nationalistic films, including (1998), (2001), and (2007), have emphasized positive traits of the Japanese military and contended that the Japanese were victims of post-war vindictiveness and viciousness. Such films have, however, drawn protest for. (2013) narrates the tale of a pilot who is considered a coward by his comrades, as he returns alive from his missions.

It broke the record takings for a Japanese live action film, and won the Golden Mulberry at the Udine Far East Film Festival, but was criticised for its nationalistic sympathy with pilots. Subgenres Documentary. Further information: andThe wartime authorities in both Britain and America produced a wide variety of films. Their purposes included military training, advice to civilians, and encouragement to maintain security. Since these films often carried messages, they grade into propaganda. Similarly, commercially produced films often combined information, support for the war effort, and a degree of propaganda., ostensibly simply for information, were made in both Allied and Axis countries, and were often dramatised. More recently, in the, 's (Chronicles of Victory) television series combined front-line footage with commentary.

Propaganda. Further information: and's 1938 historical drama depicts 's defeat of the attempted invasion of the Russian city of by the.

By April 1939 the film had been seen by 23,000,000 people. In 1941 the director and three others were awarded the for their contributions. The film features a musical score by the classical composer, considered by artists such as the composer the best ever written for cinema. Russell Merritt, writing in Film Quarterly, describes it as a 'war '.

A 1978 poll placed Alexander Nevsky among the world's 100 best motion pictures. Screenshot from 's wartime series, depicting lies being broadcast by the machineDuring the Second World War, was widely used. Advised the British government that 'If we renounced interest in entertainment as such, we might be deprived of a valuable weapon for getting across our propaganda'; he suggested using documentaries about the war and the war effort; celebrations of Britishness; and films about British life and character. And Clark agreed on a story about survivors of a crew, imbued with brutal Nazi ideology, travelling across Canada and meeting various kind, tolerant and intelligent Canadians, to encourage America into the war. The resulting film, (1941), became the top film at British offices that year. Entertaining films could carry messages about the need for vigilance, too, as in (1942) or the avoidance of 'careless talk', as in (1942). The romantic drama (1943) vilified Nazism.In America, 's (1940) clearly satirised.

's (1943) was not simply a romance between the characters played by and, but vilified the and glorified resistance to them. Frank Capra's series (1942–1945) won the 1942 Academy Award for best documentary, though it was designed to 'influence opinion in the U.S.

Military'.During the, 'propaganda played as much of a role in the United States' struggle with the Soviet Union as did the billions of dollars spent on weaponry.' (1951) dramatised an imagined invasion of the United States; other films portrayed threats such as communist indoctrination. Submarine.

Main article:have their own particular meanings and conventions, concerned specifically with giving the effect of. A distinctive element in this subgenre is the, which attempts to bring home the emotional and dramatic nature of conflict under the sea. For example, in 's 1981, the sound design works together with the hours-long film format to depict lengthy pursuit with, the ping of, and threatening sounds such as of the of enemy. Classic films in the genre include (1957) and (1958), both based on novels by naval commanders. Run Silent, Run Deep is a movie full of tension, both with the enemy and between the contrasting personalities of the submarine Commander and his Lieutenant, played. Prisoner of war. Model of used in filming (1963)A popular subgenre of war films in the 1950s and 1960s was the film.

The genre was popularised in with major films like 's (1955) and 's (1963). They told stories of real escapes from prisoner of war camps such as in the Second World War. Despite episodes of danger and human tragedy, these films delight in a continual boyish game of escape and ingenuity, celebrating the courage and the defiant spirit of the prisoners of war, and treating war as fun. 's (1957) was judged best picture at the Oscars; it took the genre from chilly German prisons to the heat of a camp in Thailand. It was the first, too, to use lush colour to bring out the British of the colonel, played by in an Oscar-winning performance. The 'definitive' Oscar-winning prisoner of war film was 's (1953), while the brief but powerful prison camp scenes of (1977) lend an air of tragedy to the whole of that film. Further information:'s (1918) set a style for war films to come, and was the first comedy about war in.British cinema in the Second World War marked the evacuation of children from London with social comedies such as (1942) where the evacuees go to stay with an (a country nobleman), while in (1941) and (1942) the English countryside is thick with spies.

(1941) offered 'zany, irreverent, knockabout' comedy making fun of everything from to. 's (1941) was successful in America, leading to many further wartime comedies. Animated.

First animated propaganda film: 's (1918)'s (1918) was a First World War film. At 12 minutes long, it was the longest made at that time. It was probably the first animated propaganda film to be made; it remains the earliest serious animated drama that has survived.

Through World War II, animated propaganda shorts remained influential in American cinema. The, working with the American armed forces, between 1942 and 1945, including (1943) and (1943).Japanese films from the 1960s onwards addressed national memories of war. (1988) moves from the to apocalyptic visions of global conflict; (1988) is elegiac on the effect of war on children. (1983) portrays the bombing of Hiroshima through the eyes of a child, but reviewers consider it a less well made film than Grave of the Fireflies with 'stomach-churning detail' bizarrely paired with crude artwork, giving it the look of a 'Saturday morning Warner Brothers cartoon'. Anti-war. Further information:The anti-war genre began with films about the First World War.

Films in the genre are typically revisionist, reflecting on past events and often generically blended. 's (1930) was unquestionably powerful, and an early anti-war film, portraying a German point of view; it was the first film (in any genre) to win two Oscars, best picture and best director.

Andrew Kelly, analysing All Quiet on the Western Front, defined the genre as showing: the brutality of war; the amount of human suffering; the betrayal of men's trust by incompetent officers. War and anti-war films often prove difficult to categorize as they contain many generic ambiguities. While many anti-war films criticize war directly through depictions of grisly combat in past wars, some films such as Penn's criticized war obliquely by poking fun at such things as the draft board. The number of anti-war films produced in America dipped sharply during the 1950s because of and the. The end of the blacklist and the introduction of the MPAA rating system marked a time of resurgence for films of all type including anti-war films in the States.

Robert Eberwein names two films as anti-war classics: 's prisoner of war masterpiece ( The Grand Illusion, 1937), and 's (1957). The critic notes that Paths of Glory established Kubrick as the 'leading commercial filmmaker of his generation' and a world-class talent. Ehrenstein describes the film as an 'outwardly cool/inwardly passionate protest drama about a disastrous French army maneuver and the held in its wake', contrasting it with the 'classic' All Quiet on the Western Front's story of an innocent 'unstrung by the horrors of war'.

Mixed genres Comedy gave scope for, and post-war film-makers merged comedy and anti-war sentiment in films as varied as (1953) and (1964). Like 's (1970), based on 's about the Second World War, and 's (1970), set in Korea, reflected the attitudes of an increasingly sceptical public during the Vietnam War.Other genres were combined in 's (1970), about real life General, where combat scenes were interleaved with commentary about how he waged war, showing good and bad sides to a command. It and MASH became the two most profitable war/anti-war films made up to that time; and Patton won seven.