Статті в журналах: "War images"

1

Chan, Evans. "War & Images." Film International 1, no. 5 (May 2003): 10–23. http://dx.doi.org/10.1386/fiin.1.5.10.

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2

Mandel, Hal. "Images of war." Medicine and War 6, no. 4 (October 1990): 312–13. http://dx.doi.org/10.1080/07488009008408954.

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3

CROSS, TIM. "Images of war." Review of International Studies 35, no. 4 (October 2009): 872–74. http://dx.doi.org/10.1017/s026021050999026x.

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4

Griffin, Michael. "Media images of war." Media, War & Conflict 3, no. 1 (April 2010): 7–41. http://dx.doi.org/10.1177/1750635210356813.

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5

Corbin, John. "Images of war: Picasso'sGuernica." Visual Anthropology 13, no. 1 (January 1999): 1–21. http://dx.doi.org/10.1080/08949468.1999.9966786.

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6

Barsdorf-Liebchen, Nicolette. "Book review: Memory of Fire: Images of War and the War of Images." Media, War & Conflict 7, no. 1 (March 24, 2014): 121–26. http://dx.doi.org/10.1177/1750635213516226.

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7

Lippe, Berit von der. "Images of Victory Images of Masculinity? Images of Victory Images of Masculinity?" Nordicom Review 27, no. 1 (February 1, 2006): 63–79. http://dx.doi.org/10.1515/nor-2017-0219.

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Abstract The focus of this article will be on the televised constructions, both in leading American mass media and in the two leading Norwegian television networks, of Bush’s announcement of victory in Iraq on May 1 2003, on board the battleship Abraham Lincoln. The article opens with a consideration of hegemony in mass media, focusing on hegemonic discourse in general, and at times of war in particular. Looking through my ‘gendered lenses’ might reveal how some kinds of hegemonic masculinity are embedded in this discourse and regarded as universal. The intention is to shed light on how non-hegemonic discourses (such as those in Norwegian media) are restrained, in subtle ways, from being counter-hegemonic. By highlighting the gendered perspectives the article may also serve as a kind of feminist and non-military intervention in dichotomic discourses, be it the dichotomies war-peace, victory-defeat or characteristics attributed to “we” and “them”. The approach is strongly influenced by cultural analysis, critical discourse analysis as well as by rhetorics.

8

Siopsi, Anastasia. "Images of War in Opera." Open Journal for Studies in History 3, no. 2 (December 11, 2020): 25–34. http://dx.doi.org/10.32591/coas.ojsh.0302.01025s.

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The main aim of this article is to raise questions with wars seen as part of cultural history attempting, thus, to provide a cultural reading. As such, I attempt to show operatic responses to war, to the meaning of violence, and to the ways they illustrate emotions that are at the core of such destructive activities (that is, patriotism, heroism and so forth) and depict wartime ideologies, practices, values and symbols. This paper is a critical and selective overview of images of war in opera mainly up to the twentieth century. There is no aspect in human activities which is not related, more or less, with the issue of war. War has been part of the total human experience. Subsequently, my paper is about the various ways of projecting images of war in opera. In more detail, it is about the ways that opera, since the era of its birth, responds to human conflicts, named wars, and bring on stage an interpretation: an illustration of a hero, a context of values related to the necessity or the avoidance of war, a message to humanity to make us look at our civilization in either positive or negative ways. A cultural contemplation is not about “truths” of the war but raises the question as to how different “truths” inhabit the political and cultural Western European world by means of the total work of art of opera. Opera has had a fundamental role in privileging some ideals of “truths” from others. The main aim is to raise questions with wars seen as part of cultural history attempting, thus, to provide a cultural reading. As such, I attempt to show operatic responses to war, to the meaning of violence, and to the ways they illustrate emotions that are at the core of such destructive activities (that is, patriotism, heroism and so forth) and depict wartime ideologies, practices, values and symbols.

9

De Angelis, Emma. "Images Of The Invisible War." RUSI Journal 160, no. 6 (November 2, 2015): 78–83. http://dx.doi.org/10.1080/03071847.2015.1124627.

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10

Spencer, J. "Images of Pre-War Suffolk." English 35, no. 151 (March 1, 1986): 54–56. http://dx.doi.org/10.1093/english/35.151.54.

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11

Fahmy, Shahira. "Special Issue: Images of War." Media, War & Conflict 3, no. 1 (April 2010): 3–5. http://dx.doi.org/10.1177/1750635210353678.

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12

Quarta, Serena. "Images of the Kosovo War." International Communication Gazette 68, no. 1 (February 2006): 93–103. http://dx.doi.org/10.1177/1748048506060117.

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13

&NA;. "Images of Civil War Medicine." Journal of Hospice & Palliative Nursing 9, no. 6 (November 2007): 292. http://dx.doi.org/10.1097/01.njh.0000299324.16548.48.

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14

Mackinlay, John. "Questioning the images of war." RUSI Journal 148, no. 5 (October 2003): 30–35. http://dx.doi.org/10.1080/03071840308446926.

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15

Meyer, Christina. "67. War and trauma images in Vietnam War representations." English and American Studies in German 2009, no. 2010 (October 15, 2010): 122–25. http://dx.doi.org/10.1515/9783484431225.122.

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16

KENNEDY, LIAM. "Soldier photography: visualising the war in Iraq." Review of International Studies 35, no. 4 (October 2009): 817–33. http://dx.doi.org/10.1017/s0260210509990209.

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AbstractThis article focuses on the production and dissemination of photographic images by serving US soldiers in Iraq who are photographing their experiences and posting them on the Internet. This form of visual communication – in real time and communal – is new in the representation of warfare; in earlier wars soldiers took photographs, but these were not immediately shared in the way websites can disseminate images globally. This digital generation of soldiers exist in a new relationship to their experience of war; they are now potential witnesses and sources within the documentation of events, not just the imaged actors – a blurring of roles that reflects the correlations of revolutions in military and media affairs. This photography documents the everyday experiences of the soldiers and its historical significance may reside less in the controversial or revelatory images but in more mundane documentation of the environments, activities and feelings of American soldiery at war.

17

Siotto, Andrea. "Image at War." Vulcan 4, no. 1 (August 1, 2016): 76–111. http://dx.doi.org/10.1163/22134603-00401004.

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The press was well accustomed to utilizing illustrations and photographs at the start of the First World War. This widespread use of images helped the people at home to better understand a war that differed enormously from previous conflicts. Images became a powerful instrument of propaganda, but also retained their usual function in entertaining and educating the reader. In this regard, technology offered new challenges and opportunities to the press in that the novelties of warfare had to be described to the public at home and images offered immediacy and clarity, and at the same time the new weapons’ marvel, even if terrifying, caught the attention and curiosity of the reader and “sold” magazines. The ample use of illustrations and photographs depicting technology in the magazines suggests how important the role of the press was in influencing both how the public understood the events on the frontline and how difficult it was for them to comprehend the new technological warfare.

18

Scannell-Desch, Elizabeth A. "Images & Relationships FORGED IN WAR." Journal of Psychosocial Nursing and Mental Health Services 37, no. 8 (August 1999): 32–42. http://dx.doi.org/10.3928/0279-3695-19990801-16.

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19

Navarro, Luis Hernández. "Images of the Dirty TV-War." Latin American Perspectives 33, no. 2 (March 2006): 70–77. http://dx.doi.org/10.1177/0094582x05286086.

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20

Safran, Stephen P. "Movie Images of Disability and War." Remedial and Special Education 22, no. 4 (July 2001): 223–32. http://dx.doi.org/10.1177/074193250102200406.

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21

Singh, J. A. "Images of war and medical ethics." BMJ 326, no. 7393 (April 12, 2003): 774–75. http://dx.doi.org/10.1136/bmj.326.7393.774.

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22

Stolarska-Fronia, Małgorzata. "Between War Images and Ecstatic Prayers." Journal of Avant-Garde Studies 3, no. 1-2 (December 18, 2023): 93–121. http://dx.doi.org/10.1163/25896377-00301006.

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Abstract The work of Breslau artist Heinrich Tischler (1892–1938), although well-known and investigated by researchers of local art milieu, mainly through exhibitions, has not yet received a deeper interpretation from the point of view of the complex and rich iconographic repertoire that has its roots in both Jewish and non-Jewish mystical thought, and in terms of the artist’s connections with the Jewish Expressionist community from Germany and Eastern Europe. Tischler, as a Jewish Expressionist whose work touched on messianic and apocalyptic themes, drew inspiration from the Kabbalah and included references to Christian iconography, as well as an element of the grotesque. This article focuses primarily on Tischler’s painting and graphic works, analyzing their Jewish idiom of messianic and apocalyptic motifs.

23

Strassman, Jessica Aldrich, Sara L. Schwartz, Eugenia L. Weiss, and Ann Petrila. "Everyone’s War Becomes My War." Advances in Social Work 22, no. 1 (June 14, 2022): v—x. http://dx.doi.org/10.18060/26263.

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The invasion of Ukraine has been difficult to watch for individuals around the world. Feelings of disbelief and helplessness arise as violent images of murdered children, bombed apartment buildings and shelters, and fleeing families waiting in freezing temperatures at border crossings flash across our screens. This is especially challenging for survivors of World War II (WWII) and their descendants, particularly Holocaust survivors of Eastern European and Ukrainian descent. The impact, however, is not limited to this population and has been felt by survivors of war crimes committed in Bosnia, Syria, and elsewhere.

24

Mokhtar, Shehram. "Reading war photographs: the 1971 India–Pakistan war in the Anglo-American press." Visual Communication 19, no. 1 (April 17, 2019): 121–41. http://dx.doi.org/10.1177/1470357219838602.

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This article examines photographs of the 1971 India–Pakistan war published in the Anglo-American newspapers: The New York Times and The Times (London) and magazines: Life, Newsweek, Time, and The Economist. The images projected the war as a spectacle and predominantly used photographic conventions associated with non-journalistic images. The photographs showcased a rather frank representation of the 1971 war, displaying images of failed military operations, dead or injured soldiers, POWs, and revenge killings. However, some of these candid documentary war photographs offer archival value in that they challenge and complicate historical amnesia and partial accounts of the war and conflict in India, Pakistan, and Bangladesh.

25

Kim, Eunjin. "War Images and History : Do Images Document or Reconstruct the War? Images at the Crossroads of Historical Studies and Art History." Journal of the Association of Western Art History 43 (August 31, 2015): 269. http://dx.doi.org/10.16901/jawah.2015.08.43.269.

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26

Zoë Roth. "War of Images or Images of War? Visualizing History in Jonathan Littell's The Kindly Ones." Journal of Modern Literature 41, no. 1 (2017): 81. http://dx.doi.org/10.2979/jmodelite.41.1.06.

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27

O'Brien, Kenneth Paul, and George Roeder. "Censorship and Images of Modern War: America in World War II." Reviews in American History 22, no. 3 (September 1994): 496. http://dx.doi.org/10.2307/2703027.

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28

Mackinlay, John. "Images of War at Tate Modern and the Imperial War Museum." RUSI Journal 159, no. 4 (July 4, 2014): 112–15. http://dx.doi.org/10.1080/03071847.2014.946703.

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29

Iskandar, Adel. "Book Review:Global War — Local Views: Media Images of the Iraq War." Journal of Communication Inquiry 31, no. 1 (January 2007): 79–84. http://dx.doi.org/10.1177/0196859906294758.

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30

SMORZHEVSKA, Oksana. "THE MYTHOLOGY OF WAR: ARTISTIC IMAGES AND MEANINGS." Almanac of Ukrainian Studies, no. 30 (2022): 108–14. http://dx.doi.org/10.17721/2520-2626/2022.30.15.

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In scientific research, the artistic images and meanings of the mythology of the Russian-Ukrainian war; their influence on the society and cultural space of Ukraine and its image in the world are outlined and broadly classified. The research focuses on the events after the full-scale invasion of Ukraine by Russia on February 24, 2022. The mythology of war has several vectors. First of all, it is the creation of new myths and an appeal to the archetypal images of Ukrainian culture, to the archaic layers of our worldview, actualized in the conditions of a fullscale war. Through art, you can convey the images of a new mythology that is being created before our eyes. Today, the Cyborgs (defenders of the Donetsk airport), the militarized image of Taras Shevchenko, have already become the core images of the mythology of the Russian-Ukrainian war. The full-scale invasion gave rise to new images and meanings: The Ghost of Kyiv, Bucha, Azovstal, Chornobaivka, Zmiiny, Zmiiebaivka Red Forest, Patron Dog, Crimean Dog, Bavovniatko. Among the characteristic features of artistic reflections of war events, the following can be distinguished: "glamorization" of war images, their humorous and satirical depiction and interpretation; dehumanization of the enemy (Orcs, Russians, Rashists); a powerful array of song creativity (the curse song "It will be like the witch will say!" became especially popular); creative depiction of acute social problems caused by the war (experience of war by women, children, less mobile groups of people, animals); creative understanding of the personal experience of war. It has been proven that russia's full-scale invasion of Ukraine on February 24, 2022, the occupation of territories, the destruction of civilian infrastructure, and the abuse of peaceful people became the impetus for serious worldview changes for many Ukrainians. It can be argued that russian aggression contributed to the process of Ukrainization. This also affected art reflections, especially among singers, artists, and actors. In this research, the author only outlines certain trends and vectors of the mythology of the war, which were reflected in art practice.

31

Solopova, Olga A., and Svetlana L. Kushneruk. "War yesterday and today: The image of Russia in British media discourse." Russian Journal of Linguistics 25, no. 3 (December 15, 2021): 723–45. http://dx.doi.org/10.22363/2687-0088-2021-25-3-723-745.

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The paper focuses on diachronic framing analysis of Russias images in British media discourse. The importance of the research is determined by a need to work out adequate linguistic foundations to counteract information war, generated by some foreign media and aimed at distorting Russias history and eroding its spiritual values. Few scholars have drawn on any systematic research into analysis of Russias images in foreign media discourses of different historical spans. The major objective is to compare Russias images and their emotional charge in the British media in chronologically divided periods of war and peace under the influence of changing historical and ideological factors. The authors account for the mechanisms by which Russias images are framed and transformed in the contexts of the largest war of the XX century and the information war of the XXI century. The material comprises 500 samples per period. The data covering two historical spans are investigated through a framing approach. The criteria for diachronic analysis are dominant diagnostic and prognostic frames, constituting the macroframe WAR. The significant difference in Russias images in war- and peacetime consists in their emotive load: Russias contemporary negative images are contrasted to positive images activated in the retrospective period. The findings support the idea that British media discourse focusing on Russia is subject-centered: Russias image is determined by the geopolitical situation, Great Britains political priorities and objectives, and the bilateral relationship between the countries. The results can be used to further develop the linguistic basics of war theory.

32

Buranok, Sergey Olegovich, and Dmitry Viktorovich Surzhik. "World War II in John Ford’s films." Samara Journal of Science 12, no. 1 (June 29, 2023): 188–91. http://dx.doi.org/10.55355/snv2023121210.

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John Fords films show how the cultural context of the Pacific War and the image of the war in combat films of 19411945 change. By the time the USA entered the World War II, Hollywood and Washington had a long if not estranged relationship. They were both well versed in the use of propaganda and had readily employed it on the citizens of the United States. J. Fords films are a good example of this cooperation. This paper is about a reflection of the image of the Pacific war, and about the key moments of glorification of the World War II history in the USA cinema and media. The paper analyzes the connection between the images of the war in the film December 7 with the images of the war in newspapers, cartoons, politicians speeches this will help to study the problem of visualizing the war in a wide socio-cultural context rather than in isolation. The nature and mechanisms of mutual influence of these images of the war have been determined: for example, how the materials of periodicals influenced the film; how the speeches of American politicians were refracted and reflected in Fords film; how the visual images of cartoons influenced the directors work.

33

Chirigati, Fernando. "Detection of war destruction from satellite images." Nature Computational Science 1, no. 7 (July 2021): 454. http://dx.doi.org/10.1038/s43588-021-00108-w.

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34

Atkinson, Philippa. "The Liberian civil war ‐ images and reality." Contemporary Politics 2, no. 1 (March 1996): 79–88. http://dx.doi.org/10.1080/13569775.1996.10382952.

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35

ROOIJENDIJK *, CORDULA. "Urban ideal images in post‐war Rotterdam." Planning Perspectives 20, no. 2 (January 2005): 177–209. http://dx.doi.org/10.1080/02665430500031829.

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36

Taylor, Nora A. "Re-authoring images of the Vietnam War." South East Asia Research 25, no. 1 (March 2017): 47–61. http://dx.doi.org/10.1177/0967828x17690046.

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37

Paletz, David L. "Book Review: Vietnam Images: War and Representation." Armed Forces & Society 17, no. 2 (January 1991): 315–16. http://dx.doi.org/10.1177/0095327x9101700215.

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38

Barthélémy, Christophe. "Stephen M. Norris, A War of Images." Cahiers du monde russe 48, no. 48/4 (December 2, 2007): 845–48. http://dx.doi.org/10.4000/monderusse.6134.

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39

DeBauche, Leslie Midkiff, Peter C. Rollins, and John E. O'Connor. "Hollywood's World War I: Motion Picture Images." Journal of American History 85, no. 4 (March 1999): 1636. http://dx.doi.org/10.2307/2568366.

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40

Aubitz, Shawn, and Gail F. Stern. "Ethnic Images in World War I Posters." Journal of American Culture 9, no. 4 (December 1986): 83–98. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_83.x.

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41

Salamon, T., S. Kassis, and A. Lerner. "Hemipelvectomy images of loss caused by war." Case Reports 2014, jul09 1 (July 9, 2014): bcr2014204479. http://dx.doi.org/10.1136/bcr-2014-204479.

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42

Masalov, Pavlo. "ANTI-WAR PERFORMANCES: "LANGUAGE OF IMAGES" AND MANIFESTATION OF SOCIAL REACTION." Odessa National University Herald. Series: Philology 28, no. 2(28) (December 23, 2023): 86–98. http://dx.doi.org/10.18524/2307-8332.2023.2(28).299791.

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The article examines the evolution of anti-war actionism through the lens of anti‑war performances in the past and present, from understanding actionism as “art of action” and political actionism to anti‑war actionism. The concept of anti‑war performance is defined as a conceptual form of conveying pacifist ideas and the technology of anti‑war actionism. The history of anti‑war performances in foreign countries, as reactions to the military conflicts of the 1960s and 1990s, is analyzed, and their main goals and ideas are identified. Ukrainian anti‑war performances provoked by the large‑scale Russian invasion are investigated, highlighting their key ideas aimed at drawing global attention to the consequences of war, demonstrating the cruelty of Russian soldiers, and showcasing the suffering of the civilian population. A comparison of anti‑war performances from the past and present reveals similarities and differences in their structure and interpretation. It is concluded that anti‑war performances are an effective means of influencing public opinion. Special attention is given to performers’ attempts to convey the essence of their actions through the “language of images”. The need for further research on anti‑war actionism in the context of contemporary socio‑political changes and challenges is emphasized.

43

Tomita, T. "The Images of the Russian Civil War in the Inter-war Period." Annuals of Japanese Political Science Association 51 (2000): 39–58. http://dx.doi.org/10.7218/nenpouseijigaku1953.51.0_39.

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44

Payne, Carol. "War, Lies, and the News Photo: Second World War Photographic Propaganda in PM’s Weekly (1940–1941)." RACAR : Revue d'art canadienne 39, no. 2 (December 9, 2014): 29–42. http://dx.doi.org/10.7202/1027747ar.

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Cet article explore un épisode remarquable de l’histoire photographique et journalistique pendant la Seconde Guerre mondiale : la reproduction et le traitement des images de propagande des pays de l’Axe par le journal progressiste new-yorkais PM en 1940–1941, à la veille de l’entrée des États-Unis dans le conflit. La stratégie éditoriale de PM communique tant une conscience aiguë des stratégies de propagande de l’époque qu’une forme novatrice de contre-propagande. En effet, PM a tenté d’inoculer son lectorat états-unien contre les effets de la propagande nazie et fasciste en reproduisant les mêmes images qui étaient au coeur de leurs protestations, mais en détournant leur intention originale par des légendes et des textes d’accompagnement qui attiraient l’attention sur l’artifice photographique et sur la manipulation contextuelle des images. En même temps, les rédacteurs de PM, en situant leur publication comme un guide fiable dans le dédale de vérités et de mensonges des photographies de guerre, exposaient leurs propres images de propagande photographique comme preuves de leur crédibilité, et ajoutaient ainsi une nouvelle strate de persuasion.

45

Marren, Marina. "Achilles’ Character as an Internal Critique of Warmongering Ideals in the Iliad." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 17, no. 2 (2023): 550–65. http://dx.doi.org/10.25205/1995-4328-2023-17-2-550-565.

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In this paper, I show how Achilles’ faults work as a lens through which we more readily see the problematic nature of ideals that cast war – and especially an aggressive war of conquest – in a poeticized and desirable light. I argue that in Homer’s Iliad, idealized images of war, which promise super-human glory, in the end, serve to undo and waste human life. I do not mean to say that in this archetypal war epic we find an outright critique of war. However, I argue that the Iliad holds its poeticized images of war in tension with the gruesome, life-negating violence to which these idealized representations give way.

46

Sidney, Cheung C. H. "Change of Ainu images in Japan: A reflexive study of pre‐war and post‐war photo‐images of Ainu." Visual Anthropology 9, no. 1 (October 1996): 1–24. http://dx.doi.org/10.1080/08949468.1996.9966688.

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47

Ma, Zhengyang. "Russia’s Motivations for Invading Ukraine: Through Waltz’s Three Images Analysis." Studies in Social Science Research 3, no. 4 (September 24, 2022): p13. http://dx.doi.org/10.22158/sssr.v3n4p13.

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After the Russo-Ukrainian War broke out, the motivations that caused Russia to launch the war are disputable and have no certain answers. In order to figure out the mystery, the article used Kenneth Waltz’s three images theory to analyze Russia’s motivations comprehensively. In the international image, NATO’s expansion enhanced Russia’s vulnerability, which provoked Russia’s aggressive reaction to Ukraine. On the other hand, the strengthening relations with China and Russia’s motivated bias embolden Russia to launch the war. In the domestic image, Russia’s stringent economic environment and embedded chauvinism stimulated Russia to solve the internal issue through war and restore its past glory. On the individual level, because of Putin’s ambition, he was attempting to use the war to sustain his popularity and wrote down his name in history.

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Ristić, Katarina. "Freed by the Court: The Role of Images Between Remembrance and Oblivion of War Crimes." Pólemos 13, no. 1 (April 24, 2019): 91–108. http://dx.doi.org/10.1515/pol-2019-0012.

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Abstract This paper explores the role of images in facilitating debates on the responsibility of convicted war criminals. Previous research on the mediation of war crime trials in Serbia has mainly focused on political and media discourses or everyday practices as verbal or textual modes of communication, showing the dominant nationalism and widespread denial, with convicted war criminals appearing as heroes and celebrities. This article argues that the normalization of convicts was partially realized through the avoidance of atrocity images and the prevalence of iconic images of convicts, who are described as persons “freed by the court.” The paper explores two instances when iconic images of convicts served as catalysts in debates on their criminal responsibility, pointing out that images might limit the scope of the debate, and condition the type of questions posed. Archival atrocity images, on the other hand, might provide much-needed context and evidence about crimes. Considering the powerful role of images, the article urges a more systematic analysis of images in the transitional justice field, as some of the images turn into symbolic presentations of the past for future generations.

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Gimenez, Alba. "Distance and Implication." Film Studies 22, no. 1 (May 1, 2020): 112–28. http://dx.doi.org/10.7227/fs.22.0008.

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Harun Farocki’s Eye/Machine (2003) is a video installation which analyses how what Farocki calls ‘the operational image’ reconfigures our visual regimes. The ‘operational image’ allows machines to operate ever more autonomously and to perform their tasks with no need for human supervision. Farocki links the birth of such operational images to the missiles with integrated cameras used during the Gulf War (1991) and therefore to military purposes. Eye/Machine poses a paradox: operational images generate a process of abstraction in which the image depicted (in the case of the war, the battlefield) gets detached from its indexical dimension, appearing as abstract and unreal. However, such detachment can be reversed when these images are recontextualised and reframed within an exhibition space, since that places them within a human experiential framework. Images, and our perception of them, are part of what Judith Butler calls the ‘extended materiality of war’. Thus, war is not only fought in the battlefield, but also at the level of the senses.

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Hacker, Barton C. "Visualizing Tanks." Vulcan 9, no. 1 (March 2, 2022): 50–83. http://dx.doi.org/10.1163/22134603-09010004.

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Abstract Rapidly changing technology transformed not only military affairs in the half century before 1914 but also the printing industry. In particular, images of all kinds became available to the public on an unprecedented scale. This allowed governments to call on artists both to propagandize the war effort and record the world-historical events. In the images they created during the Great War, official war artists did much to shape the public perceptions of such novel technologies as the tank. Especially in the robust war art programs of Britain and France, artists emphasized the blank menace of machines without evidence of human agency. Images of implacable machines rearing over blasted landscapes appeared in salons, books, magazines, newspapers, and in the new medium of film. The images sank home. During the interwar period, military mechanization incorporated tanks into armored forces that projected that same menace and invincibility on a larger scale, the very characteristics that commended tank forces to totalitarian regimes.

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