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In this highly original history of memory, David Williams shows how classic Great War literature, including work by Remarque, Owen, Sassoon, and Harrison, was symptomatic of a cultural crisis brought on by the advent of cinema. He argues that images from Geoffrey Malins' hugely popular war film THE BATTLE OF THE SOMME (1916) collapsed social, temporal, and spatial boundaries, giving film a new cultural legitimacy, while the appearance of writings based on cinematic forms of remembering marked a crucial transition from a verbal to a visual culture. By contrast, today's digital media are laying the ground for a return to Homeric memory, whether in The History Channel, the digital Memory Project, or the interactive war museum. Of interest to historians, classicists, media and digital theorists, literary scholars, museologists, and archivists, the book is a comparative study that shows how the dominant mode of communication in a popular culture - from oral traditions to digital media - shapes the structure of memory within that culture. Some of this film was turned over to the U. . government's official WWI propaganda agency, the Committee on Public Information (CPI), who produced over sixty government motion pictures about the war. Perhaps the most important reason for the government's establishment of a wartime film effort relates to the rapid growth of the American film industry. Film historians have long pointed to WWI as the period when the motion picture came of age as both an art and an industry. During the war years the film industry experienced a number of developments and innovations which enhanced the motion picture's status as a mass medium and reshaped the American film business as well. Before the war, most British politicians and administrators had regarded cinema as a shabby means of mass entertainment, totally unworthy of serious attention. It took the special circumstances of WWI to break through those prejudices and create a new awareness of the immense potential which mass, popular cinema represented. In fact, the official filmmaking of the war was the foundation on which Britain’s documentary filmmakers built their oeuvre during the interwar period, for in spite of the fact that at the end of 1918 the wartime institutions were rapidly dismantled, there was no denying the experience of official sponsorship of the factual film which had gone before. That the crucial role official propaganda films played in building the budding interwar documentary film industry was soon largely forgotten lends importance to this thorough examination of the subject. What we receive is well-reasoned proof, with vivid support, of how popular culture reflected a major change in the concept of patriotism held by Russians from every class.

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