As the conclusion of World War II approaches its 80th anniversary, the memories of this historic event are at risk of fading into darkness. As the number of surviving veterans from the war diminishes, the responsibility of preserving their history falls to the next generations.
Here, Dallas Dores considers this in the context of film depictions of World War II.
John Wayne in the 1962 World War II film The Longest Day.
Historians the world over work diligently to protect the legacies of World War II from being forgotten, but they are not the only ones. Entertainment media such as film and television production has also sought to preserve the memory of World War II through a more visual process. Movies and television series in America have captured the attention of younger generations who could not otherwise have ‘experienced’ the events of World War II. While these films and series may serve as a means of preserving the historical legacy of World War II, they are not a reliable source of historical accuracy. Movies and television shows, no matter how educational they may attempt to be, are designed for entertainment. As such, these modern depictions of World War II will often substitute much of their historical accuracy for attention catching action or even ulterior agendas, such as national patriotism. Such depictions can even fall on the wrong side of the fine line between fact and fiction for the sake of public reception. This favoritism of entertainment over education has dangerous consequences for the modern day public memory of World War II. As such films and series become increasingly popular, much of the American public, unfamiliar or otherwise disconnected with the generation of the 1940’s, is at risk of accepting these false film narratives of the war as facts, leading to a fictionalized, homogenized interpretation of World War II.
Motivations
The greater acceptance of film interpretation over historical research of the war traces back to the growing popularity of such films. It is no secret that war films, particularly World War II films, have a large and enthusiastic audience in the 21st century, especially in the United States. The modern day film is able to engage with the viewer and bring them subconsciously into the action being depicted in typically more powerful ways than the average textbook. As Anton Kaes discusses in his article History and Film, historical films are able to play with certain aspects of the story being told and translate it in a present tense, giving the viewer a stronger connection with the events unfolding before them. This ability to reshape history, however, is where the primary concern with such historical films begins. Although a film may be more ‘engaging’ than a basic textbook, the historical accuracy of a film is at far greater risk of corruption. As Richard Godfrey observes in his work Visual Consumption, historical films in the US, particularly those concerned with World War II, are rarely without ulterior motives. Many of these films strive to affirm a desired national identity, one that invokes a militaristic patriotism, by elevating the role of the United States above its more accurate standing, while simultaneously minimizing the more negative aspects of the past. Historical films concerning the war, particularly from the American perspective, oftentimes seek to create their own interpretations of the war rather than present the original story, with all its flaws and mistakes. This is also done with the theory that American audiences do not want to see the negatives of their nation’s past, only the positives. As Barry Schwartz puts it in his article Memory as a Cultural System, “We cannot be oriented by a past in which we fail to see ourselves”. This logic plays a critical role in the development of the historical film narrative. If a filmmaker wants their viewer to identify with the main character of their movie, they remove as many flaws associated with that character as possible, or at the very least give the character a sense of redemption for past mistakes. Thus begins the creation of the distorted memory. As films gain greater attention over books, the average viewer begins to accept what is depicted on the screen as fact. Although there are films that clearly represent fiction, others leave the viewer questioning reality vs imagination.
Semi-authentic stories
With entertainment taking priority over education, these films oftentimes take liberties in their unique interpretations of historical events. This can take both a simple form such as a semi-authentic story based on true events, or a more extreme form where the film becomes more fictional than historical. The Quentin Tarantino film Inglourious Basterds is a prime example of the latter. The film’s director himself made it clear that this film is a work of fiction, with the events and characters therein being created out of pure imagination. A film such as this would not be looked to for historical accuracy or information. On the opposite side of the coin is Steven Spielberg’s Saving Private Ryan, arguably one of the most historically accurate World War II films. The film has been hailed as one of the most authentic depictions of the American soldier’s experience in World War II put into film. This authentic feel contributed to the film’s popularity, and as Lester Friedman discusses in Citizen Spielberg (University of Illinois Press, Urbana, Chicago), it is also the cause of the film's memory distortion. The popularity of the film carried over far beyond simple entertainment, as viewers of the film began to confuse the event of the movie with real life. A number of accounts from the Omaha Beach memorial in France tell of tourists needing to be told that there is no grave for Captain John Miller, the fictional main character of the film. Although there were incidents during World War II where multiple brothers served and died in the war, the story of Private James Ryan is fictional. Even though the film is a work of fiction, it is viewed by many as fact. As John Whiteclay Chambers explains, “the public memory of war…has been created less from a remembered past than from a manufactured past”. As the collective memory of World War II becomes shaped by film rather than account, it is also distorted and altered in a way that does not clearly distinguish fact from fiction.
Women
Not only is the film narrative of World War II inaccurate, it is also incomplete. The stereotypical World War II film in America, which in turn is connected with the stereotypical American narrative of the war, features stoic, Caucasian male soldiers on the frontlines of battle. This image contributes to many of the national identities filmmakers and studios attempt to emphasize in such films. However, in elevating certain images and narratives, others are either diminished or even left out. The story of American women is rarely depicted in World War II films, and when it is, as Victoria Tutino examines, it does not tell the entire story. Tutino agrees that “Society needs these films in order to understand the context of the wartime era”, however, she warns that “society must be wary as this medium only explores one side of women’s multi-dimensional roles”. The role of American women during the war is often limited in its film depiction, either to that of a field nurse or a patriotic homefront worker. The life and times of Rossie the Riveterby Connie Field attempts to overcome this underrepresentation by revealing the untold story of women workers. In creating this film, Fields collected the accounts of 700 American women who worked during the war and presented five main speakers on screen, two Caucasian and three African American, all from different backgrounds. The purpose of Field’s work was to challenge the notion that American women joined the workforce solely out of patriotism, as depicted in many films, and reveal their true desires for economic gain in a male driven workplace. Although this film attempts to fill in the incomplete narrative of women’s role during the war, it still falls into the same trap of trying to convince the audience that this is the complete story. While 700 individual accounts is certainly a substantial source of information, it is only a small portion of the larger image of millions of women who entered the working and military forces, all from different backgrounds and for different purposes. While attempting to correct the shortcomings of many films, The life and times of Rossie the Riveter falls into the same trench of trying to create its own narrative.
African American soldiers
Just as with women in World War II, the legacy of African American soldiers is severely underrepresented in film history. Just as with women, countless African Americans served in the US military during the war and fought for their nation. While this piece of history is remembered in text, it is all but forgotten in film, with the overwhelming majority of American World War II films focusing primarily, if not entirely on the more commonly seen Caucasian soldier. This once again falls under the umbrella of a national identity, one that chooses to overlook past mistakes rather than accept them. Though some films have in recent years attempted to shed a stronger light on the African American soldier, they should not be taken without caution. Just as with the narrative of women, Clement Alexander Pricequestions if “moving images of black soldiers enhance an understanding of the black experience in war, or do they, like so many written documents, reflect a circumscribed view”. The film can only encompass so much of history accurately before it becomes infected by the imagined narrative. In 2008, director Spike Lee released Miracle at St. Anna (Touchstone Pictures, 2008), a film which he had hoped would draw some much needed attention to the experiences of African Americans during the war. The film addressed racial situations that many African Americans faced on the homefront, presenting a subject matter which other similar films typically shy away from. However, the film’s realism does not last and the all too common element of fiction distorts the narrative. Near the end of the film, a scene takes place in which a commanding German Officer takes pity on one of the main African American characters, handing him a pistol and offering words of encouragement to him in English. A situation such as this, in which a ranking officer of the Nazi military would not only spare but arm an enemy soldier, let alone one of non-Caucasian descent, is completely inconceivable from a historical standpoint. As such, the audience is left questioning whether or not the film’s context should be taken literally or metaphorically, as fact or fiction. This creates a paradox in which accepting the film as fact leads to the belief of false narratives, but interpreting the film as fiction distorts the true realities as exaggerations. In either case, the film’s credibility as a reliable source of historical memory is tarnished.
Conclusion
As World War II continues to be the subject of modern popular culture, the memory of its past becomes further entangled in a web of distortion. The use of film and television as a source for memory is increasing, and as such its factual evidence is replaced by imagined narrative. As the generation of the 1940’s rapidly diminishes, their memories are left in the hands of those who use and warp it for ulterior purposes. The desire to promote a national agenda over less-than-comfortable details creates an altered narrative of the past, one that magnifies only small portions of the war and replaces the rest with imagination. As filmmakers take their own liberties in substituting certain aspects of history with more media-adjacent interpretations, the public memory of these events is changed and distorted into an imagined fiction. These films place entertainment over education, leaving viewers wondering how these films should be interpreted and oftentimes fail to discern between fact and fiction. Furthermore, as the presented narratives of films are accepted, the excluded facts are forgotten. The true experiences of individuals such as women and African Americans are more often than not either misinterpreted and altered or completely left out of the greater image, leaving these aspects of the past to be lost in history. The use of film over text as historical reference is a dangerous path, one that homogenizes the public memory into a synthetic image so detached from reality that the true memory of the past is all but erased.
References
Lester Friedman, Citizen Spielberg, (University of Illinois Press, Urbana, Chicago)
Richard Godfrey, Simon Lilley, Visual consumption, collective memory and the representation of war, (Consumption Markets & Culture, Taylor and Francis Online, 2009), Visual consumption, collective memory and the representation of war: Consumption Markets & Culture: Vol 12 , No 4 - Get Access (tandfonline.com)
Anton Kaes, History and Film: Public Memory in the Age of Electronic Dissemination, (History and Memory 2, no. 1, 1990), History and Film: Public Memory in the Age of Electronic Dissemination on JSTOR (asu.edu)
Spike Lee, Miracle at St. Anna, (Walt Disney Studios, 2008).
Barry Schwartz, “Memory as a Cultural System: Abraham Lincoln in World War II.”, (American Sociological Review, 1996) Memory as a Cultural System: Abraham Lincoln in World War II on JSTOR (asu.edu)
Steven Spielberg, Saving Private Ryan, (Dreamworks Pictures, 1998).
Victoria Tutino, Stay at Home, Soldiers: An Analysis of British and American Women on the Homefront during World War II and the Effects on Their Memory Through Film, (Of Life and History, College of the Holy Cross, 2019), Stay at Home, Soldiers
John Whiteclay Chambers, David Culbert, World War II, Film, and History, (Oxford University Press, 1996), ProQuest Ebook Central - Reader (asu.edu)
