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The Nazi perpetrator’s hallucinations and nightmares in Jonathan Littell’s The Kindly Ones
Helena Duffy

: 807). Apart from the by now familiar purity–defilement opposition, the dream contains two phallic symbols – the faeces and the spear – which, if interpreted through a Freudian lens, indicate Aue’s simultaneous erotic desire for his father and fear of him. 19 However, to be understood more fully, this dream must read it in the light of the earlier revelations regarding the commission of war crimes by Aue’s father and of the

in Dreams and atrocity
Open Access (free)
Ian Scott
Henry Thompson

to give aid to Haiti, but not OK to criticise efforts in Iraq or Afghanistan, where we are destroying countries. This is an issue of political correctness. Movies critical of Iraq have not done well. In Platoon, I had a mix of dead stone killers and heroes which allowed me to attempt a reassessment of Vietnam. The film did show Vietnamese being killed and it did become a subject of discussion, yes. I was called a ‘baby killer’ and so forth, and people said that I should be tried for ‘baby killing’ and for ‘war crimes’. It was mentioned, but it was not the prominent

in The cinema of Oliver Stone
Lynn Anthony Higgins

his tour of duty in Algeria, he walked by a door and glimpsed fellow recruits torturing an Algerian. Boeuf admits he was curious, but he turned away to avoid voyeurism, and he regretted having looked at all. His story is not unique: other interviewees describe the same feeling of powerlessness, the impulse to avoid knowing, and then to forget. His voice breaking, Etienne Boulanger, who spent two years in prison for draft resistance, believes that his government made him complicit in war crimes. Like the Freudian primal scene, this

in Bertrand Tavernier
Justice unravelled, a tale of two Frances (1941 and 1943)
Susan Hayward

Pompidou decided, in November 1971, to pardon ( in camera ) Paul Touvier – the head of the Milice in Lyon, 1943–44, who had twice been condemned to death for his war crimes. As Pompidou himself declared – once his act of pardoning became public knowledge in March 1972 – ‘le droit de grâce (revient) au chef d’État […] C’est une responsabilité parfois effrayante […] mais la tradition l’exclue de s’excuser. C’est purement un acte de clémence, c’est tout. […] Le moment n’est-il pas venu de jeter le voile, d’oublier ces temps où les Français ne s’aimaient pas, s

in The films of Costa-Gavras
Jonathan Rayner

A similar depiction of the honourable adversary is found in Under Ten Flags/Sotto Diece Bandiere (Duilio Coletti, 1960), which recreates the cruise of the raider Atlantis. Captain Rogge (Van Heflin) conducts a conscientious campaign against Allied shipping, and in evading British ships for two years, earns the admiration of Admiral Russell (Charles Laughton). In return, Rogge respects and fears British determination in the hunt for his ship, being acquainted with the ‘bulldog’ spirit from his rowing days at Cambridge. The only war-crime represented is committed by

in The naval war film
Contemporary naval films
Jonathan Rayner

aircrew in the Balkan conflict is on one level accidental, and on another inevitable and justified. The US Navy’s supposedly impartial status in the Balkan conflict is altered by the airmen’s objective discovery of a civil war crime, and then transformed altogether by their victimisation at the hands of the Serbian militia. This unsophisticated redrawing of the conflict allows for righteous intervention, to save a tangible American life and defend a more abstract principle which motivates the presence of and risk to American personnel in the first place.13 The film

in The naval war film
Abstract only
Un héros très discret, Le Promeneur du Champ-de-Mars, Indigènes and Diplomatie

over the history of the Second World War. This was a period of retribution as, thanks to the work of historians and authorities alike, nations saw a rise in the number of official apologies and trials charging individuals (including Klaus Barbie, Paul Touvier, Maurice Papon and others) with war crimes. The enduring trauma and legacy of the period was still being felt nearly half a century later. In the post-war period, two films in particular, Nuit et brouillard (Alain Resnais, 1956) and Shoah (Claude Lanzmann, 1985), both described as artistic missions against

in Reframing remembrance
Abstract only
It nearly took my arm off! British comedy and the ‘new offensiveness’
Leon Hunt

understatement, the report observed, ‘The number of complainants rose significantly after extensive media reporting of the content’ (Ofcom 2009: 3). There had reportedly been about two until the Daily Mail and other tabloids got hold of the story. The Daily Mail hit the heights of torch-wielding disapprobation with a piece entitled ‘Lest we forget’ (Daily Mail Reporter, 2008a) – ‘Sachsgate’ appeared to have been upgraded to the status of war crime. It included a transcript of the entire exchange – as Charlie Brooker observed, they even transcribed parts of the phonecalls that

in Cult British TV comedy
Regarde les hommes tomber, Un prophète and Un héros très discret
Gemma King

violence, the assassination of French deserters rediscovered in Germany several years after the war, is the tipping point that causes him to turn himself in to French authorities as a fraud. But in falsely casting himself as a Jewish Resistance hero, Albert exploits and benefits from what Kathryn Lauten calls frankly ‘the lie of France as a war resister’ ( 1999 : 58), a widespread will not only to suppress French war

in Jacques Audiard
Kirsten Forkert
Federico Oliveri
Gargi Bhattacharyya
, and
Janna Graham

similar terms. Most notably, all of them failed to cover any conflict in terms other than the implications for European political and economic interests. The articles were identified on Nexis using the terms ‘Name of country + war OR bombing OR troops OR ceasefire OR peace talks OR war crimes OR civilians OR international OR terrorism OR civil war or human rights OR crime OR drugs’ and the equivalent in Italian. The timeframe included: 28 December 2014–28 January 2015 to coincide with the NATO withdrawal from Afghanistan; 30 September 2015–30 October 2015 to coincide

in How media and conflicts make migrants