This essay discusses the formal and thematic unity of Steven Spielberg’s World War Two films--Empire of the Sun (1987), Schindler’s List (1993), and Saving Private Ryan (1998). Contrary to critics who characterize Spielberg as a jingoistic filmmaker, this essay demonstrates that it is precisely the way that Spielberg deconstructs Nationalism that makes this trio of films so exceptional. The films are discussed in terms of Spielberg’s formal and thematic strategies, including his use of framed narrative and his extensive match cutting.
|Presenter:||Sean Pfeifer (The College at Brockport) -- firstname.lastname@example.org
|Topic:||History, English, & Film Studies|
|Time:||9 am (Session I)|