Episoder
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This week Charles and Aaron look back at Batch Thirteen and talk about the evolution of “boat action” on screen. Who is in charge, how do they feel watching the young boys and men die under their command, and why does Master and Commander feel like a step backwards (in spite of the fact that we LOVE the movie)? It’s all here.
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This week Charles and Aaron enlist with Kirk and Co. and take to the stars. We talk more about leadership as well as delving into re-militarizing a non-military brand, the struggle to liberate the science fiction imaginary, and the music of James Horner.
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Mangler du episoder?
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Chales and Aaron are back on the barky, this time with Gregory Peck pacing the quarter deck and a quarter of a million dollars in miniatures getting blown to smithereens. How do you produce sound after an era of silent films? How do you import Gregory Peck without violating British economic policy? How do you say "Horatio Hornblower" and keep a straight face? We don't have all the answers, but we DO have GREGORY PECK.
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Charles and Aaron board the Surprise to talk about the neomacho, striping books of criticism for the sake of a simple story, and we revisit our conversation about child soldiers. “For England, for home, and for the prize!”
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Charles and Aaron look back on the first batch of films for Season 2. They talk Patton (1970), The Admiral: Roaring Currents (2014), and Twelve O'Clock High (1949). Leadership in the air, on land, and at sea, death armies and impossible odds; don’t hold out hope for a trip home; because as we have said all batch: you are already dead.
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Find short movie reviews by Biggs at Letterboxd
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Charles and Aaron lose their minds over turtle ships and talk about the most watched movie in Korean history. Impossible odds, death armies, and patriotism on screen; did we mention that you are already dead? Because you are already dead.
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This week Charles and Aaron take to the skies with Gregory Peck. We make hard choices and then face the consequences…with a nap.
Flashbacks, leadership, and the line between sanity and insanity, don’t feel sad about it, because you are already dead.
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“Americans traditionally, love to fight. All real Americans love the sting of battle. Americans play to win all the time.”
Season Two of The Reel War Project kicks off with 1970’s Patton. Charles and Aaron talk about a movie that celebrates as it criticizes, with additional looks at Nazi apologetics, Jacksonian militarism, and the soldier that never dies. Ten-hut!
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In this very special episode of the Reel War Project, Charles and Aaron look back on season one and bestow honors on the best and worst film, soldier, music, and more. The barb wire is twinkling and the privates are strewn for the affair - don't miss the Reel aWARds Show!
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This week on Reel War Project's Dirt Maps: Dr. Lorenzo Veracini describes key differences between colonialism and settler colonialism, the roles of cinema in sustaining and re-enacting each, and the importance of alienhood in all that follows.
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This week on Reel War Project's Dirt Maps Aaron and Charles talk with Andy Rakich from Atun-Shei Films on the importance of tone in storytelling about war.
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This week on Reel War Project's Dirt Maps Aaron chats with Dr. Joseph Darda about his new book: How White Men Won The Culture Wars: A History of Veteran America. From grand military reunions to Stallone’s movies and Springsteen’s music, who we remember as “Our Veterans” will matter!
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This week on Reel War Project's Dirt Maps Aaron interviews Dr. Scott Murphy from the University of Kansas about the music of Ken Burns’ Vietnam War documentary and heroic structures from the 1850’s found in James Bond, 1917, and The Avengers.
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This week on Reel War Project's Dirt Maps we talk to Raya Morag from Hebrew University about her work on Defeated Masculinity and Perpetrator Cinema. We talk about film’s power to repress accountability and yet prompt ethical reflections in viewers. “Hey there. Hi there! Ho there! You’re as welcome as can be!”
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This week on Reel War Project's Dirt Maps Charles, Aaron and Eli talk to Dr. Walter Metz from Southern Illinois University about our batches and his perspectives on film criticism.
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This week Charles and Aaron record their final episode of Season One, looking back at the batch on Normandy. We discuss a "classic epic", a "thoughtful critique", and a "roller coaster ride with zombies." The book would be "Grover Gets Killed at The End of This Book," he would get into a Higgins boat, and then we turn the page. Thanks for listening to Season One of Reel War!
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In this episode of Reel War Project: Dirt Maps Aaron talks to Alyssa “Ember” Smith about her paper comparing legacies of white washing and blackwashing. We talk about cinema and priming, the politics of representation, and the importance of anti-racism in climates of white supremacy.
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This week on Reel War Project Charlie and Aaron watch the 33rd and final movie of the season: Overlord (2018). We talk about blackwashing and whitewashing; the sharing of technology between cinema and games; and once again we explore horror as a platform for war culture. It’s gross.
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This week on Reel War Project Charlie and Aaron continue Batch 11 on Normandy with 1975's Overlord. We talk about "The Falling Soldier" photo, using war footage with horror tropes to resist war, moving bodies (until there is nothing left at all), and how we don't know where we are going until we are there. If you want a moving and critical war film you have to check this one out. Watch the movie FIRST, then tune in!
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This week on Reel War Project Charles and Aaron take The Big Step Off into the last batch of the season, starting with The Longest Day. Avengers vibes, officer movies, epic shots that stand the test of time, and the power of the lies of faction - get into the Higgins boat and puff up the bagpipes because it's time to go ashore.
Listen anywhere you get podcasts http://anchor.fm/reelwarproject
Send us an email [email protected]
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