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An exploration of a range of different visual media to examine how our emotional connections and political responses to the impact of war are mediated through images of the human face.

War Faces on Screen

Photography, Film, and the Politics of Representation

List of Figures List of Contributors Acknowledgements Introduction: War Faces on Screen Mani Sharpe (University of Leeds, UK) Part 1: Photographing Faces of War 1. Now You See Them, Now You Don't: A Photographic series of Afghan Interpreters and Veteran Advocates in the Aftermath of the War in Afghanistan (2001-2021) Andy Barnham (Photographer, UK) and Sara de Jong (University of York, UK) 2. Faces of War: An Interview with Alexander Chekmenev Mani Sharpe (University of Leeds, UK) and Kseniia Lazareva (University of Leeds, UK) 3. Sentimentalizing Trauma: Ways of Seeing War Faces in Visual Generative AI Katy Parry (University of Leeds, UK) and Giorgia Aiello (University of Milan, Italy) Part 2: Cinematic Close-ups and Drone Vision 4. The Face, Combat Trauma and the Other in Apocalypse Now Guy Westwell (Queen Mary University of London, UK) 5. Pathos Signals in the Contemporary American War Film: The Transfer of Affect Robert Burgoyne (Writer, UK) 6. Target Confirmed: Drone Visuality, Dehumanization, and the Weeping Soldier in Eye in the Sky Alex Adams (Independent Scholar) 7. Attending the Dead: Digital Colourization, Injury and the First World War Archive Liz Watkins (University of Leeds, UK) Part 3: Colonization, Decolonization and Defacement 8. The War Face Off-Screen: Catalogue Descriptions, Imperial Interpellations, and Reading On- and Off-Screen Faces in British Boer War Films Anushrut Ramakrishnan Agrwaal (University of St Andrews, UK) 9. In Defence of Facelessness: Opacity in Trinh T. Minh-ha's Documentaries Surname Viet Given Name Nam (1989) and Shoot for the Contents (1992) Leonie Gschwendtberger (University of Bristol, UK) 10. Screening the Faces and Non-Faces of War: A Political Physiognomy Mangalika de Silva (New York University, USA) Index

Between 1968 and 1975, there was a subtle thawing of relations between East and West, for which Brezhnev coined the name Détente, and - perhaps - a chance to end the Cold War. The leaders of the United States and the Soviet Union, Richard Nixon and Leonid Brezhnev, hoped to forge a new relationship between East and West. Yet, the greatest changes of the era took place outside the sphere of international diplomacy. The 1960s brought social collision across the world, from the anti-war protests in America to the student demonstrations on the streets of Paris, and Mao Zedong's Red Guards in China. A new generation, whom advertising executives dubbed the baby-boomers, brought new attitudes to towards sex, gender, race, the environment and religion. In this book, Richard Crowder explores the years of Détente, and introduces us to the key players of the era, whose stories form the narrative of this book.

The Chance to End the Cold War

Détente

The iconic fashion house through its finest creations

Dior in 50 Objects

From one of Israel/Palestine’s most perceptive and popular commentators, Gaza Apocalypse by Mouin Rabbani delivers incisive analysis and commentary on the world-shaking events that erupted on October 7th 2023. Drawing from commentary written before and during the conflict, this book offers a rigorous examination of the war's events and their broader historical and political significance. Rabbani's work provides essential context, helping readers navigate the complexities of this devastating war with clarity and insight. A crucial read for understanding the crisis in Gaza and its implications for the future.

Gaza Apocalypse

BFI Film Classics

A new edition of the BFI Film Classic on Claude Lanzmann's epic documentary Shoah (1985).

Shoah

Duel

A detailed study of how Operation Desert Storm saw Coalition forces respond to Iraq's surface-to-air missile defences with ground-breaking combat aircraft technology.

Operation Desert Storm 1991

Coalition Aircraft vs Iraqi SAMs

On Photography and Social Media

The Social Photo

Art in the Age of AI

How to See Like a Machine

Anatomy of The Ship

HJMS Fuso was designed in 1911, the first Japanese super-dreadnought within the "8 x 8" program. She was the first of four twin battleships with her sister ship, Yamashiro and the "improved Fuso-class" Ise and Hyuga. Commissioned in 1915, Fuso, with 30,600 tons trial displacement and twelve 356mm guns in her main armament, was the biggest and most powerful battleship in the world. In twenty-nine years of service, Fuso underwent two major reconstructions and modernizations. Her distinctive silhouette with the highest pagoda tower in the Imperial Navy, was visible in many operations of the Imperial Japanese Grand Fleet during the Pacific War. This book compares Fuso with Yamashiro showing the differences in the way that the two ships were designed and equipped. Both ships met their demise during the battle of Leyte Gulf when they went down in the Surigao Strait, targeted by torpedoes and gunfire from US battleships and cruisers. Janusz Skulski's anatomies of three renowned ships of the 20th century Japanese navy are among the most comprehensive of the Anatomy series with hundreds of meticulously researched drawings of the ships. This new edition is a genuine "Super Anatomy" containing the most detailed renditions of these ships ever seen.

The Battleships Fuso and Yamashiro

This collection analyzes Joshua Oppenheimer's diptych The Act of Killing and The Look of Silence as a cinematic event that invites interrelated questions on historical memory, truth and reconciliation, and the limits of documentary filmmaking. 

Featuring a new interview with Joshua Oppenheimer himself, On the Act of Looking affirms Oppenheimer's use of fiction and manipulation as a technique to expose, contrary to the classic documentary form, not so much a reality behind the appearance of things, but how appearance as such can become a site of intervention or truth-telling. Contributors to this collection, including film scholars, art historians, historians, political scientists, philosophers, and Indonesian human rights activists, answer why Oppenheimer's documentary films not only have received near universal praise and admiration, but also why this praise is often qualified by surprise and fascination.

This collection analyzes Joshua Oppenheimer’s diptych The Act of Killing and The Look of Silence as a cinematic event that invites interrelated questions on historical memory, truth and reconciliation, and the limits of documentary filmmaking. 

Featuring a new interview with Joshua Oppenheimer himself, On the Act of Looking affirms Oppenheimer’s use of fiction and manipulation as a technique to expose, contrary to the classic documentary form, not so much a reality behind the appearance of things, but how appearance as such can become a site of intervention or truth-telling. Contributors to this collection, including film scholars, art historians, historians, political scientists, philosophers, and Indonesian human rights activists, answer why Oppenheimer's documentary films not only have received near universal praise and admiration, but also why this praise is often qualified by surprise and fascination.

Reading Joshua Oppenheimer’s Diptych: The Act of Killing and The Look of Silence

On the Act of Looking

This book examines the integral role that makeup plays in the construction and promotion of female stardom, focusing on the transitional Hollywood period, between 1950 and 1970, a time of great change in Hollywood with the advent of television, the break-up of the studios and the break-down of the production code. Cathy Lomax's compelling study features in-depth case studies of stars Vivien Leigh, Marilyn Monroe, Natalie Wood, Dorothy Dandridge and Joan Crawford alongside archival images of make-up promotional material and the make up used by stars and their fans to interrogate the role of makeup in defining and adjusting the appearance of race, beauty, ageing, naturalness, and sexual appeal in the star image. Makeup is a vital technical material in film and photography; correcting skin-tones for different film stocks and making features visible under bright lights. But it is also a component of a film's mise-en-scene, intrinsically linked to the visual allure of cinema and helps to shape and refine the female star image, both on- and off-screen. Lomax's case studies show how makeup was used to create female figures such as the femme fatale played by Marilyn Monroe in Niagara (1953); how in various roles Natalie Wood's makeup was used to suggest a youthful, natural and openly sexual young woman, or, when as a white actress she was cast in 'ethnic' roles, to create an impression of a Hispanic, Native American or Black identity; how Dorothy Dandridge's light skin challenged codes around inter-racial relationships, with the result that her skin was darkened for love scenes with Black actors, and how the transition to colour impacted Joan Crawford's star persona as she aged, and how ideas about the grotesque nature of female ageing were represented in the 1960s cycle of 'hag horror' movies such as 1962's Whatever Happened to Baby Jane? Drawing on film studies, feminist debates on masquerade theory, celebrity studies and fashion and cultural studies, alongside information from biographies, fan magazines, archives, and practical experience from her own work as a makeup artist, Lomax reveals the vital and under-examined role that makeup plays in the display of femininity on film, and how this is exemplified through the construction of individuated stardom. By making visible a material, that because of its connection with feminine adornment has been overlooked or disregarded, this book highlights undervalued labour, and foregrounds the female agency that was articulated by the design and application of makeup.

Makeup, Femininity, Race and Ageing in Hollywood

Making Up the Star

Cinema Two

Hirokazu Koreeda

Through a re-examination of the theoretical study of time and embodiment, this collection proposes an innovative new discourse in which to situate film. Each of its essays, written by a host of renowned international scholars, demonstrate the embodiment of time to be a vital part of the aesthetic experience of cinema. Analysing a broad range of films such as Beasts of the Southern Wild (USA, 2012), Talk to Her (Spain, 2002), Millennium Actress (Japan, 2001), Jab Tak Hai Jaan (India, 2012), and Jinpa (China, 2018), they each draw specific attention to moments of change and transformation, so as to explore how films operate as dynamic carriers of social meaning. Contributors examine key questions of embodied time as represented on screen; as a way of rethinking the centrality of the individual, of depicting gendered differences, of decentring western perspectives to consider embodied time in a widened global context, and as a way of expanding what embodiment means in post-human narratives. In doing so, this study not only highlights specific discourses of radical, lived experience in film, but also considers how distinctions of race and class, gender and sexuality, migration, religion, and indigeneity affect these depictions of embodied subjectivity.

Time and the Cinematic Body

Radical Embodiment on Film

War Faces on Screen

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