D-Day Filming - For Real. A Comparison of ?Truth? and ?Reality? inSaving Private Ryanand Combat Film by the British Army's Film and Photographic Unit

  title={D-Day Filming - For Real. A Comparison of ?Truth? and ?Reality? inSaving Private Ryanand Combat Film by the British Army's Film and Photographic Unit},
  author={Toby Haggith},
  journal={Film History: An International Journal},
  • Toby Haggith
  • Published 2002
  • History
  • Film History: An International Journal
S teven Spielberg's Saving Private Ryan (1998) is acclaimed for its realistic battle sequences. In part Spielberg achieved this realism by mimicking the style of combat film shot by Allied cameramen. But how does this representation compare with the real thing, taken by men under fire using basic, cumbersome cameras? The purpose of this article is to explore these differences and evaluate how these two different cinematic approaches contribute to our understanding of the Normandy campaign and… Expand
Re-viewing D-Day: The cinematography of the Normandy landings from the Signal Corps to Saving Private Ryan
In that it privileges the grand perspective (the landscape, and the battalion arrayed in all its splendour), The Longest Day (1962) is typical of big-picture World War II films produced up until theExpand
Blood Splats and Bodily Collapse: Reported Realism and the Perception of Violence in Combat Films and Video Games
A clear definition of realism is understandably difficult for critics and theorists to agree upon when applied to texts such as the war film or combat shooter, which can have a very direct connectionExpand
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Visualising Technologies and the Ethics and Aesthetics of Screening Death
Technological innovations in the generation and circulation of images have altered both the way death looks to contemporary audiences and the access publics have to representations of death andExpand
Star Faces and Star Bodies in an Age of Atrocity: Alain Cavalier’s L’Insoumis and Mark Robson’s Les Centurions
Often physically flawless to the point of perfection, cinematic stars are frequently metaphorized as gods, or mirrors, of our own collective desires. But why would the iconography of stardom beExpand
Television and Documentary
The emergence of television as a new mass medium that challenged and eventually surpassed the pre-eminence of cinema offered new opportunities and new challenges for documentary. Some documentaristsExpand
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Film critics have identified distinct phases of the Vietnam War film: from 1975 to 1980, there was the “tale of moral confusion and the returning vet” like Apocalypse Now (1979) and The Deer HunterExpand
Re-presenting war
This article examines a cycle of British drama-documentaries about the Second World War broadcast in 2004-5: Dunkirk, D-Day, When Hitler Invaded Britain D-Day to Berlin and Blitz: London's Firestorm.Expand
The social and political complexities of violent acts during war and the particularities of such moments can be explored through artistic representations that lead to instances of reflection on theExpand


Projections of War: Hollywood, American Culture, and World War II
In this cultural history of the USA during World War II, Thomas Doherty examines the interaction between Hollywood cinema and America's involvement in the war. He reveals how and why HollywoodExpand
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Introduction: The Political Importance of Film Propaganda in the Twentieth Century Part 1: The Story of Film Propaganda 2. The Interwar Years 3. Wartime Documentary Films 4. The Postwar Agenda PartExpand
Missing In Action
This analysis follows up work in the late 1970s analyzing Sports Illustrated’s coverage of women’s sports in Olympic years 1956, 1960, 1964, 1968, 1972, and 1976. This article analyzes featureExpand
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The ad, which shows fictional postdoc Dr Ramirez ‘searching’ for a job while enjoying a massage, has prompted real postdoc Maria Sideris to write in, asking how an out-of-work postdoc can afford a massage. Expand
On the beach
The Morphodynamics of the Wadden Sea.By Jürgen Ehlers. A.A. Balkema: 1988. Pp.397. DM 185, £52.75.
discussing the film while on the set in a programme called Retum to Normandy, broadcast on BBC1 on
  • 1998
discussing the film while on the set in a television programme entitled Return to Normandy, broadcast on BBC1 on
  • 1998
during an interviewwith Mark Cousins on a BBC2 programme entitled, War Stories
  • Mark Cousins Talks to Steven Spielberg, broadcast on
  • 1998
during an interviewwith Mark Cousins, in the programme entitled War Stories
  • Mark Cousins Talks to Steven Spielberg, broadcast on BBC on
  • 1998