Proceedings of the International Conference on Communication and Applied Technologies 2024 (ICOMTA 2024)

Representation of World War II in the Narrative of Russian War Films

Authors
Diego E. Chávez-Pareja1, Lorena T. Espinoza-Robles1, *, Oscar. A. Aybar-Cabezudo2
1Universidad de Ciencias Aplicadas, Lima, 15023, Peru
2Universidad de Navarra, Pamplona, 31009, Spain
*Corresponding author. Email: pcavlesp@upc.edu.pe
Corresponding Author
Lorena T. Espinoza-Robles
Available Online 17 December 2024.
DOI
10.2991/978-94-6463-596-6_55How to use a DOI?
Keywords
Russian Cinema; World War II; Narrative; War Films
Abstract

War cinema is a film genre focused on war, with World War II being the most depicted conflict. Due to Hollywood’s influence, Western audiences are more familiar with American war films and their perspective on the conflict, while there is a few or null familiarity with the perspective of Russian war cinema. Therefore, to broaden the understanding of World War II, it is relevant to investigate how its representation has evolved in Russian war films. A qualitative approach was employed, and a case study was designed. A content analysis guide was applied to ten scenes from the films Liberación: El Bulto de Fuego, Ven y Mira y Estrella. The investigation was based on three categories of analysis: character construction, transformation arc, and the contexts in which they are situated. The main findings of the research indicate that the wartime period as a historical context influences the type of narrative in the analyzed films. Additionally, the representation of enemy forces has evolved over time towards their humanization and a deeper portrayal of military units’ participation in the confrontation and crimes against humanity. This research contributes to the History and Cinema research line, as well as the study of films as cultural products.

Copyright
© 2024 The Author(s)
Open Access
Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

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Volume Title
Proceedings of the International Conference on Communication and Applied Technologies 2024 (ICOMTA 2024)
Series
Atlantis Highlights in Social Sciences, Education and Humanities
Publication Date
17 December 2024
ISBN
978-94-6463-596-6
ISSN
2667-128X
DOI
10.2991/978-94-6463-596-6_55How to use a DOI?
Copyright
© 2024 The Author(s)
Open Access
Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

Cite this article

TY  - CONF
AU  - Diego E. Chávez-Pareja
AU  - Lorena T. Espinoza-Robles
AU  - Oscar. A. Aybar-Cabezudo
PY  - 2024
DA  - 2024/12/17
TI  - Representation of World War II in the Narrative of Russian War Films
BT  - Proceedings of the International Conference on Communication and Applied Technologies 2024 (ICOMTA 2024)
PB  - Atlantis Press
SP  - 630
EP  - 638
SN  - 2667-128X
UR  - https://doi.org/10.2991/978-94-6463-596-6_55
DO  - 10.2991/978-94-6463-596-6_55
ID  - Chávez-Pareja2024
ER  -