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dc.contributor.authorPlain, Gill
dc.date.accessioned2016-07-31T23:30:57Z
dc.date.available2016-07-31T23:30:57Z
dc.date.issued2014-08
dc.identifier.citationPlain , G 2014 , ' Before the Colditz myth : telling POW stories in postwar British cinema ' , Journal of War & Culture Studies , vol. 7 , no. 3 , pp. 269-282 . https://doi.org/10.1179/1752627214Z.00000000048en
dc.identifier.issn1752-6272
dc.identifier.otherPURE: 126195996
dc.identifier.otherPURE UUID: a5bbe481-fdcb-4fb1-bd88-c1cbc45cd924
dc.identifier.otherScopus: 84904460658
dc.identifier.otherORCID: /0000-0002-3387-4850/work/61622311
dc.identifier.urihttp://hdl.handle.net/10023/9232
dc.description.abstractBefore the concretization of the ‘Colditz Myth’ in the mid-1950s, British cinema's engagement with the prisoner of war (POW) narrative took unexpected generic forms. The Captive Heart (1946) and The Wooden Horse (1950) draw on the narrative conventions and structures of feeling mobilized by documentary realism, romance, melodrama, and crime. Exploring these films as hybrid genres draws attention to their capacity to symbolize a range of postwar social anxieties, in particular regarding demobilization, repatriation, and the reconstruction of peacetime masculinities. The films depict the frustration and boredom of incarceration, and build narratives of reassurance out of group and individual coping strategies. Yet, while characters might escape, the ‘duty to escape’ is not a central preoccupation: rather the films focus on the relationship between camp and home, and the reconstruction of the incarcerated male subject. Between 1946 and 1955, cinema variously imagines the prisoner of war camp as a space of holistic reconstruction, and as a site for the reconstruction of male agency through productive labour. These films, then, bear little resemblance to the war genre through which they are usually conceptualized: rather they draw on domestic tropes to examine the pressures confronting the male subject in the aftermath of war.
dc.format.extent14
dc.language.isoeng
dc.relation.ispartofJournal of War & Culture Studiesen
dc.rights© 2014. W. S. Maney & Son Ltd. This is the author’s version of a work that was accepted for publication in Journal of War and Culture Studies. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. A definitive version was subsequently published in Journal of War and Culture Studies, 7, 3, (August 2014) DOI 10.1179/1752627214Z.00000000048en
dc.subjectBritish cinemaen
dc.subjectMasculinityen
dc.subjectGenreen
dc.subjectWar filmsen
dc.subjectStructures of feelingen
dc.subjectHomeen
dc.subjectDemobilizationen
dc.subjectPE Englishen
dc.subjectBDCen
dc.subjectR2Cen
dc.subject.lccPEen
dc.titleBefore the Colditz myth : telling POW stories in postwar British cinemaen
dc.typeJournal articleen
dc.description.versionPostprinten
dc.contributor.institutionUniversity of St Andrews.School of Englishen
dc.identifier.doihttps://doi.org/10.1179/1752627214Z.00000000048
dc.description.statusPeer revieweden
dc.date.embargoedUntil2016-08-01


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