![Sample our Humanities journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/5939/TOC-Subject-Sample-2021-Humanities.jpg"})
Notes
1. West, Black Lamb and Grey Falcon, p. 772.
2. Probably the best source for the United States' involvement in World War I is Kennedy, Over Here: The First World War and American Society.
3. Lewis, Main Street, p. 279, p. 487.
4. Lewis, Babbitt.
5. For a recent, fascinating account of how the Civil War's cost in lives affected society in the United States, see Faust, The Republic of Suffering, and Ambrosius, Woodrow Wilson and the American Diplomatic Tradition: The Treaty Fight in Perspective. A somewhat polemical, yet still essential, source is John Maynard Keynes, The Economic Consequences of the Peace.
6. Faust, The Republic of Suffering, 266.
7. Fitzgerald, The Great Gatsby, p. 3 (see also p. 150). To be fair, Fitzgerald did include a moving rumination by Dick Diver, his main protagonist, in Tender Is The Night, pp. 56–57.
8. Hemingway, The Sun Also Rises and A Farewell to Arms.
9. The discussion of The Big Parade comes from my viewing of the film on VHS (Hollywood: MGM, 1992) and Wings from the same source (Hollywood: Paramount Pictures, 1995). The discussions of What Price Glory?, The Patent Leather Kid, and A Ship Comes In come from private showings. An excellent discussion of the Hollywood film industry's treatment of World War I and its aftermath can be found in DeBauche, Reel Patriotism: The Movies and World War I, pp. 159–160, p. 165, p. 174.
10. Eberwein, The Hollywood War Film, p. 64.
11. DeBauche, Reel Patriotism, p. 194.
12. This discussion of All Quiet on the Western Front comes from a viewing of the restored 130-minute version by the Library of Congress, released by Universal on DVD in 2007. While not the entire film (which lasted for 138 minutes), this restoration is far superior to previous, severely truncated versions.
13. Hasek, The Good Soldier Svejk and His Fortunes in the World War, p. 43.
14. Burton, “‘Death or Glory?’ The Great War in British Film,” in British Historical Cinema, pp. 31–32.
15. Graves and Hodge, The Long Week End: A Social History of Great Britain, 1918–1939, p. 4.
16. Gallagher, The Decline, Revival, and Fall of the British Empire, and Burk, “Old World, New World: Great Britain and America from the Beginning,” in America's “Special Relationships”: Foreign and Domestic Aspects of the Politics of Alliance, pp. 24–44.
17. Ford, Parade's End, p. 3, p. 20.
18. Ibid., p. 144 (quotation), p. 168, p. 177, p. 286, p. 412 (Sylvia's accusations), pp. 433–435, pp. 451–453, p. 613, pp. 639–641, pp. 677–836 (Tietjens now an heir). The 2012 television serial of Ford's work by the British Broadcasting Corporation Two, starring Benedict Cumberbatch, is an interesting, if imperfect, adaptation.
19. Graves, Goodbye To All That: An Autobiography. This 1998 edition contains Graves's 1957 revisions of his original account.
20. The text of Journey's End can be found in Sherriff, Journey's End: A Play in Three Acts. An overall review of the original play production and its reception can be found in Cody and Evert Sprinchorn, The Columbia Encyclopedia of Modern Drama, Volume 2, p. 1236.
21. The discussion of Journey's End comes from a private viewing.
22. Kester, Film Front Weimar: Representations of the First World War in German Films of the Weimar Period (1919–1933), p. 11.
23. As with all periods of German history before 1945, the period of the 1920s encompasses an extensive historiography. A few examples include Friedrich, Before the Deluge; Johnson, Locarno Revisited: European Diplomacy, 1920–1929, and Ward, Weimar Surfaces: Urban Visual Culture in 1920s Germany.
24. This area of interpretation is well established. See, for example, Kass, Shell Shock Cinema: Weimar Culture and the Wounds of War; Andriopoulos, Suggestion, Hypnosis, and Crime: Robert Wiene's The Cabinet of D. Caligari (1920); Isenberg, “Of Monsters and Magicians: Paul Wegener's The Golem: How He Came Into the World (1920),” in Weimer Cinema: An Essential Guide to Classic Films of the War, pp. 13–55, and Eisner, The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt, p. 18.
25. Sorlin, “Film and the War,” in A Companion to World War I; Aitken, European Film Theory and Criticism: A Critical Introduction; Winter, Sites of Memory, Sites of Mourning: The Great War in European Cultural History, p. 33. For more on Pabst, see Geisler, “The Battleground of Modernity: Westfront 1918,” in The Films of G.W. Pabst: An Extraterritorial Cinema, pp. 91–102.
26. The observations about Westfront 1918, as well as the other movies mentioned, come from private viewings.
27. Two essential sources to considering Pabst's still-controversial return to Nazi Germany and filmmaking in that country during World War II are Bock, “Georg Wilhelm Pabst: Documenting a Life and a Career,” in The Films of G.W. Pabst, pp. 231—233, and Atwell, G.W. Pabst, pp. 121–128. Although never condemned, Pabst's apparent collaboration ended his cinematic career, and still clouds his reputation today.
28. The observations about Westfront 1918, as well as the other movies mentioned, come from private viewings.
29. Friedman, Susan Stanford Analyzing Freud: Letters of H.D., Bryher, and Their Circle, p. 133.