Place Annihilation: Area Bombing and the Fate of Urban Places
Kenneth Hewitt
The effects and devastation of bombings during World War II is the main focus within this article. Kenneth Hewitt first brings up the type of phrasing used in the descriptions in casualties of war such as "unfortunate" and "unplanned." As well he talks about the way casualties are viewed because of the intentions of those who killed them. An example he gave was of a village called Lidice that was one of the ones that the Germans completely destroyed. The people living there were either killed or taken to concentration camps. Then they altered the land to blend in with the surrounding landscape and even routed a river that ran through it. Because of their intentions this was seen as a travesty but those who called it that did similar damage. The Allies did many carpet bombings that were not very discriminatory killing many civilians and destroying towns. These casualties were just referred to as "sacrifices of war."
Hewitt then goes into how the bombings were done during the war. At first the bombing tactics used in World War II were dense carpet bombings. These used many explosive bombs that were found to not be the most effective. Later they started using incendiary bombs that destroyed many cities and killed many civilians by spreading fires through the cities. These bombings were not just being done to cities with combatants but also noncombatant undefended towns. Japan suffered the most civilian casualties during these bombings than any other country Germany having the second highest casualty count. The incendiary bombings actually caused more destruction in Japan than both atomic bombs that were dropped.
This article gave good information about how scary and destructive war can be. Some may think that it is mostly combatants that are killed and innocent civilian deaths are kept to a minimum. The numbers of casualties from bombings given in this article show just how frighteningly high the casualties were during World War II. It definitely gives a strong argument against war.
Article taken from JSTOR archives:
Annals of the Association of American Geographers, Vol. 73, No. 2 (Jun., 1983), pp. 257-284
Published by: Taylor & Francis, Ltd. on behalf of the Association of American Geographers
Thursday, April 22, 2010
Wednesday, April 21, 2010
An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood
An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood
W. ANTHONY SHEPPARD
This article describes ways in which Japanese citizens and Japanese-American citizens were stereotyped and mistreated during the World War II era. Countless songs came out of the Hollywood and Tin Pan Alley composers derogatorily referring to the Japanese as "Japs," yellow rats, and other names of the sort. Songs, films, and television programs would make fun of and ridicule the way that Japanese speaking individuals pronounce the English language. Japanese children were stereotyped as squinty-eyed, buck-toothed, and unintelligent.
Film music is an incredibly useful tool for propaganda. By thematically presenting different nationalities through inaccurate (in most cases) and generalized modes and motifs, images and thoughts are immediately conjured up that shade a watcher's disposition.
Many times if the intent of the score is to stereotype, it is not very subtle at all. Sheppard compares it with a derogatory phrase, such as "dirty Jap." In these cases, the tone of voice plays a huge part in the insult. His analogy matches the inflection in the voice with the less than subtle moments in a score. This propaganda dehumanizes individuals and nations and shapes the views of it's audience.
One of the biggest problems with film scores of this era (and later), is the lack of authenticity in the music. Most scores borrow from other sources that sound like one thing or another (or at least what the composer thinks it should sound like). Many times, the music is composed to sound "Japanese," but actually just sounds like a horrible Hollywood stereotype involving an amalgamation of several pseudo-cultures. Although somewhat inevitable, this really is a bad thing, because it gives us a false view of other cultures and institutions.
Sheppard's focus was on the effectiveness of film propaganda. Film was the most effective medium for anti-Japanese propaganda during World War II. The musical scores that accompanied these films did much to assist the stereotyping and profiling.
This article was taken from JSTOR Archive:
Journal of the American Musicological Society, Vol. 54, No. 2 (Summer, 2001), pp. 303-357
Published by: University of California Press on behalf of the American Musicological Society
W. ANTHONY SHEPPARD
This article describes ways in which Japanese citizens and Japanese-American citizens were stereotyped and mistreated during the World War II era. Countless songs came out of the Hollywood and Tin Pan Alley composers derogatorily referring to the Japanese as "Japs," yellow rats, and other names of the sort. Songs, films, and television programs would make fun of and ridicule the way that Japanese speaking individuals pronounce the English language. Japanese children were stereotyped as squinty-eyed, buck-toothed, and unintelligent.
Film music is an incredibly useful tool for propaganda. By thematically presenting different nationalities through inaccurate (in most cases) and generalized modes and motifs, images and thoughts are immediately conjured up that shade a watcher's disposition.
Many times if the intent of the score is to stereotype, it is not very subtle at all. Sheppard compares it with a derogatory phrase, such as "dirty Jap." In these cases, the tone of voice plays a huge part in the insult. His analogy matches the inflection in the voice with the less than subtle moments in a score. This propaganda dehumanizes individuals and nations and shapes the views of it's audience.
One of the biggest problems with film scores of this era (and later), is the lack of authenticity in the music. Most scores borrow from other sources that sound like one thing or another (or at least what the composer thinks it should sound like). Many times, the music is composed to sound "Japanese," but actually just sounds like a horrible Hollywood stereotype involving an amalgamation of several pseudo-cultures. Although somewhat inevitable, this really is a bad thing, because it gives us a false view of other cultures and institutions.
Sheppard's focus was on the effectiveness of film propaganda. Film was the most effective medium for anti-Japanese propaganda during World War II. The musical scores that accompanied these films did much to assist the stereotyping and profiling.
This article was taken from JSTOR Archive:
Journal of the American Musicological Society, Vol. 54, No. 2 (Summer, 2001), pp. 303-357
Published by: University of California Press on behalf of the American Musicological Society
Sunday, April 18, 2010
Grave of the Fireflies
Grave of the Fireflies is a movie about the struggle for survival in Japan during World War II. The story follows a young boy named Seita and his little sister Setsuko. In the opening scene you are shown that this movie is not going to have a happy ending. The scene shows Seita sitting against a post in a train station just after the war is over. He is looking worn out and staring blankly at the ground. Everyone walking around the station either ignores him or tells him to get a job. It then skips to later that night when the workers are cleaning the floors at which point Seita falls over dead. This seemed to be a common occurrence during this time as the workers were not shocked by this at all. One of the workers inspected him and picked up a tin container with some sort of "powder" inside that Seita was holding. The worker then threw the tin outside at which point you see the ghost of a little girl and the recently deceased boy picking up the can. Now knowing what happens to the characters in the end the film goes back to show the events that led to this point. In the next seen you see Seita franticly trying to bury some food while loud sirens can be heard. His sister, Setsuko, and his mother are their appearing very calm even though the sirens are sounding. His father is away on a navy ship fighting in the war. The mother then heads out to the bomb shelters while Seita finishes burying food. Once he is finished he puts Setsuko o
n his back and starts to run to the shelters, but the moment he steps outside his house he sees the planes overhead dropping incendiary bombs. All the buildings around start to catch fire as he runs to get out of the city. The two of them make it out but their home and most of the city is burned to the ground. They then go to a schoolhouse where people are being treated after the attack at which point they learn their mother was severely burned. Their aunt takes them into her house while their mother is readied to be taken to a hospital. Unfortunately before their mother can be moved to the hospital she dies leaving them to stay with the aunt. At first living with their aunt worked out fine. As time went on however she started getting annoyed at Seita because he was old enough to work but was doing nothing but goofing off with
Setsuko all day. Their aunt kept criticizing them until they decided they have had enough and left to go live in one of the bomb shelters. This was working well for them until they started running out of food. Food during this time was being rationed and not even farmers had enough to sell to people. Setsuko was starting to develop rashes and getting sick due to malnutrition. Becoming desperate Seita started sneaking into farms to steal food from their fields. He was eventually caught by a farmer and after the confrontation decided he was not going to steal from farms again. However still needing food in order to help his little sister he decides to take a very dangerous route to get food. He starts running into towns during bombings to grab whatever food he can find while everyone else was fleeing. Later he manages to make it to a bank where he withdrawals money from his mother’s account to buy food. While at the bank he overhears people people saying the war is over and mentions that all their navy ships were sunk including Seita‘s father‘s ship. He is crushed after learning this but knows he needs to get food and bring it back to Setsuko so that she can get better. Regrettably, with all the food Seita is able to get, Setsuko continues to get worse until she ultimately dies in her sleep. This was the most heartbreaking moments of the movie. At this point you could tell Seita had been
broken as he does not smile again and barely speaks. Seita does a ritual cremation for Setsuko on top of a hill near the shelter they had stayed in. Afterwards he put her ashes in a tin that used to contain fruit drops that Setsuko liked a lot. He stated he never returned to that spot until the final scene in which you see the ghosts of Seita and Setsuko sitting together at the top of that hill.
This movie was a great, although depressing, movie showing the struggles that civilians in Japan were going through during World War II. They had to cope with constant threat of bombing attacks. Many had lost their homes as well as friends and family members. Food was scarce and medical treatment was not easy to get. This film captured the fear, sadness, and desperation that people were going through during this time of war.
n his back and starts to run to the shelters, but the moment he steps outside his house he sees the planes overhead dropping incendiary bombs. All the buildings around start to catch fire as he runs to get out of the city. The two of them make it out but their home and most of the city is burned to the ground. They then go to a schoolhouse where people are being treated after the attack at which point they learn their mother was severely burned. Their aunt takes them into her house while their mother is readied to be taken to a hospital. Unfortunately before their mother can be moved to the hospital she dies leaving them to stay with the aunt. At first living with their aunt worked out fine. As time went on however she started getting annoyed at Seita because he was old enough to work but was doing nothing but goofing off with
Setsuko all day. Their aunt kept criticizing them until they decided they have had enough and left to go live in one of the bomb shelters. This was working well for them until they started running out of food. Food during this time was being rationed and not even farmers had enough to sell to people. Setsuko was starting to develop rashes and getting sick due to malnutrition. Becoming desperate Seita started sneaking into farms to steal food from their fields. He was eventually caught by a farmer and after the confrontation decided he was not going to steal from farms again. However still needing food in order to help his little sister he decides to take a very dangerous route to get food. He starts running into towns during bombings to grab whatever food he can find while everyone else was fleeing. Later he manages to make it to a bank where he withdrawals money from his mother’s account to buy food. While at the bank he overhears people people saying the war is over and mentions that all their navy ships were sunk including Seita‘s father‘s ship. He is crushed after learning this but knows he needs to get food and bring it back to Setsuko so that she can get better. Regrettably, with all the food Seita is able to get, Setsuko continues to get worse until she ultimately dies in her sleep. This was the most heartbreaking moments of the movie. At this point you could tell Seita had been
broken as he does not smile again and barely speaks. Seita does a ritual cremation for Setsuko on top of a hill near the shelter they had stayed in. Afterwards he put her ashes in a tin that used to contain fruit drops that Setsuko liked a lot. He stated he never returned to that spot until the final scene in which you see the ghosts of Seita and Setsuko sitting together at the top of that hill.This movie was a great, although depressing, movie showing the struggles that civilians in Japan were going through during World War II. They had to cope with constant threat of bombing attacks. Many had lost their homes as well as friends and family members. Food was scarce and medical treatment was not easy to get. This film captured the fear, sadness, and desperation that people were going through during this time of war.
Additional Information
http://www.shvoong.com/humanities/794655-grave-fireflies/ - Summery and review.
Saturday, April 17, 2010
World War II and the American Film
World War II and the American Film
This is a very interesting journal article about how the American film industry handled the contant changes during World War II. The article explains a lot about the history of the war itself, and what films became focused on throughout this period. First, the author, Lewis Jacobs explains that the American film industry centered on comedies, romances, adventurs, melodramas and westerns (Jacbos 1). As the events of World War II became closer to the United States, the types of films being created changed their focus. Film became focused on military tactics and training. The media became an "inspiration and morale-building journalism which featured scenes of patriotic parades, town meetings, recruits leaving for camp, destroyers being launched, pilots receiving comissions, graduation exercises at West Point and Annapolis" (Jacobs 3). All of the defense preparations were portrayed in not only film, but also other media, as glamorous and fun. During this time, there were very few clips that would show what exactly was happening in the war. Only a few documentaries were able to break the restrictions and create something closer to the war than any other media in the United States.
During the transition into war, films became focused on man hunts, spy plots, escapes, and those members fighting in the army, airforce, and navy; like Flight Command (1940), Dive Bomber (1941), and Navy Blues (1941).
In April of 1941, when the President stated the United States was in a National Emergency, films began to center on helping men and families accept the idea of being drafted. By this time, the majority of movies were focused on the military and war.
This article also discusses details about the history of this time period and how it affected the film making industry. For example, after the evens at Pearl Harbor, the President assigned Lowell Mellet to work with the movie companies in order to show how the industry can help the national defense. There were six themes given by the government. The companies were not forced to follow them, but it was definitely suggested. The six themes were "the issue of war, the nature of the enemy, the United Nations, the production front, the home front, and the fighting forces" (Jacobs 10).
Jacobs then goes by the years of conflict and describes how the war affected the film industry. During the first year, most films were centered on propoganda and entertainment. By the end of the second year, American film had much less compassion. "Film began to serialize the profanity of war" (18).
Towards the end of the war, when the Allied Forces were growing strong and the possiblilty of ending the war became more prevalent, films changed quickly and drastically. All the films focused on the military tactics were either abandoned by the companies, or were finished up and released as quickly as possible. "Hollywood beat all other industries to reconversion" (20).
This article in very informative not only about the film of this time period, but also the history of the war itself. Jacobs clearly shows how the events of World War II affected American film by going more in depth about a few movies from each stage of the constantly changing industry.
This journal article is available in the JSTOR archives.
World War II and the American Film
Lewis Jacobs
Cinema Journal, Vol. 7, (Winter, 1967-1968), pp. 1-21
Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies
This is a very interesting journal article about how the American film industry handled the contant changes during World War II. The article explains a lot about the history of the war itself, and what films became focused on throughout this period. First, the author, Lewis Jacobs explains that the American film industry centered on comedies, romances, adventurs, melodramas and westerns (Jacbos 1). As the events of World War II became closer to the United States, the types of films being created changed their focus. Film became focused on military tactics and training. The media became an "inspiration and morale-building journalism which featured scenes of patriotic parades, town meetings, recruits leaving for camp, destroyers being launched, pilots receiving comissions, graduation exercises at West Point and Annapolis" (Jacobs 3). All of the defense preparations were portrayed in not only film, but also other media, as glamorous and fun. During this time, there were very few clips that would show what exactly was happening in the war. Only a few documentaries were able to break the restrictions and create something closer to the war than any other media in the United States.
During the transition into war, films became focused on man hunts, spy plots, escapes, and those members fighting in the army, airforce, and navy; like Flight Command (1940), Dive Bomber (1941), and Navy Blues (1941).
In April of 1941, when the President stated the United States was in a National Emergency, films began to center on helping men and families accept the idea of being drafted. By this time, the majority of movies were focused on the military and war.
This article also discusses details about the history of this time period and how it affected the film making industry. For example, after the evens at Pearl Harbor, the President assigned Lowell Mellet to work with the movie companies in order to show how the industry can help the national defense. There were six themes given by the government. The companies were not forced to follow them, but it was definitely suggested. The six themes were "the issue of war, the nature of the enemy, the United Nations, the production front, the home front, and the fighting forces" (Jacobs 10).
Jacobs then goes by the years of conflict and describes how the war affected the film industry. During the first year, most films were centered on propoganda and entertainment. By the end of the second year, American film had much less compassion. "Film began to serialize the profanity of war" (18).
Towards the end of the war, when the Allied Forces were growing strong and the possiblilty of ending the war became more prevalent, films changed quickly and drastically. All the films focused on the military tactics were either abandoned by the companies, or were finished up and released as quickly as possible. "Hollywood beat all other industries to reconversion" (20).
This article in very informative not only about the film of this time period, but also the history of the war itself. Jacobs clearly shows how the events of World War II affected American film by going more in depth about a few movies from each stage of the constantly changing industry.
This journal article is available in the JSTOR archives.
World War II and the American Film
Lewis Jacobs
Cinema Journal, Vol. 7, (Winter, 1967-1968), pp. 1-21
Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies
Friday, April 16, 2010
The New York Times Review: Days of Glory
Yes, Soldiers of France, in All but Name
This film review by A. O. Scott gave a film critique's perspective on "Days of Glory," while also providing insight into the historical information that the film included. Scott explains that the title of the film in French, "Indigenes," means "Natives" in English. By choosing this title for the film, the director (Bouchareb) shows the irony present on the French side of World War 2. Clearly the main characters in this film are not natives of France, yet they sacrifice even more than the true Frenchmen in most cases in order to achieve victory. Scott compliments Bouchareb on his ability to provide war drama to the viewer while still maintaining a genuine aspect of each of the character's lives and personalities. He describes the acting as "first rate," and admires how this film depicted the experiences of individuals who have been misrepresented as a whole in other popular war stories. The men from North Africa were expected to possess a patriotic duty to France, even though they are treated as second- class citizens throughout the film. Scott claims that France has had a goal of achieving universal aspirations of the people while still maintaining some sort of national identity. His belief is that the film shows how much these two ideas truly contradict with one another, leading to numerous confrontations between the North Africans and Frenchmen. The article repeatedly praised Bouchareb for his ability to present history through his characters and according to Scott, "make every shot count." Bouchareb's ability to depict aspects of war with a personal glimpse into each character's life is what makes this film so extraordinary.
Link to the article: http://movies.nytimes.com/2006/12/06/movies/06glor.html
Tuesday, April 13, 2010
“Why WWII Tales Endure”
Intrigued with Rickey Gervais’ comment to Kate Winslet, “I told you, do a Holocaust movie and the awards come, didn’t I?”, writer Addie Morefoot explored the popularity and critical acclaim of WWII films in her 2009 piece, “Why WWII Tales Endure.” Morefoot explained that for years both Hollywood and foreign country’s cinematic industry have been producing films based on WWII or the Holocaust. Coincidently, many of these films have be nominated and/or won many awards. However, Morefoot’s interviewees argue that even though film critics may have a general interest in WWII/Holocaust film, it is the quality of these films that earn their critical acclaim. Supporting the interviewees’ claim are several factors. First, WWII/Holocaust movies tend to have higher budgets. Also, the films explore themes of morality in a highly emotional and action-packed storyline. Lastly, the tales come out of a rich history that is not only real but are also recognizable worldwide. Consequently, WWII/Holocaust films are not only popular amongst film critics but general audiences. One such example is "Winter in Wartime" (Netherlands), which out- grossed "Twilight" and "The Dark Knight" in the Netherlands. Filmmakers will continue to make WWII/Holocaust films not only because of their financial success and critical acclaim but also because of the education value that each story has to offer.
Works Cited
Morfoot, Addle. "WHY WWII TALES ENDURE." Variety 416.13 (2009): A1-A5. Film & Television Literature Index with Full Text. EBSCO. Web. 13 Apr. 2010.
Wednesday, April 7, 2010
Days of Glory
Days of Glory is a film that not only depicts the French side of World War Two, but more importantly focuses on the prevalence of racism and discrimination within the French Army itself. Since the main characters of the film are from Africa and are Muslims, the story has a much different perspective than if it was told by a Frenchman. The main group consists of Said, Messaoud, Yassir, Corporal Abdelkader and the French Sergeant Martinez. From the very beginning the film shows the expendability of the Africans, as they are forced into a dangerous confrontation in the mountains, simply so the French Commander can identify the artillery stations of the enemy. A number of the African troops are killed, yet the white military correspondent tells the press that the battle was a “great victory.” One of the conflicts between races in the film happens in the cafeteria and is about something as simple as tomatoes. The cooks do not allow the Muslim men to have any tomatoes an.jpg)
d in an act of defiance, Corporal Abdelkader smashes the crates of tomatoes and demands that the Africans have equal rights to the food. Throughout the film, he is the patriot for equality who represents the Africans, and they are eventually allowed to have any food that they want. While in France, Messaoud begins a romantic relationship with a French woman. Their romance eventually ends when his letters are censored and they have no means of communication. When Sergeant Martinez’s assistant dies, Said replaces him and is constantly harassed by the other soldiers because of it. They call him names like “wog,” a derogatory slang word for Africans and “aicha,” meaning slave. This part of the film shows the discrimination that took place even among the soldiers and fellow Muslims. Next, two major events take place in the film. The first event is when Said discovers that Sergeant Matinez’s mother is a Muslim as well. When Said mentions this to Martinez, Martinez is outr
aged and threatens to kill him if he ever tells his secret. It is incredible how ashamed he is about this detail of his life and constantly looks down upon the Muslims even though his own mother was one of them. A second major incident occurs when the Africans discover that the French soldiers are allowed leave to visit their homes and families while they are prohibited from going anywhere. In response to this racism, Abdelkader gathers a group together who demand justice be done. He is thrown in jail for his insolence and eventually is convinced to participate in a dangerous mission, along with the rest of his troops. Several of the men die along the journey to the battle, and after the fighting has ceased, only Abdelkader remains. Although the Africans held the Germans long enough for reinforcements to come and help with t
he victory, only white French soldiers stand next to the liberated villagers during a photo shoot that will inevitably be in a French newspaper. It is heartbreaking how the African soldiers fought with such bravery and heart, only to lose their lives and gain absolutely no recognition from the French government. The film fast-forwards in time many years later when Abdelkader returns to the gravesites of his former fighting companions. As if the Africans have not been through enough discrimination and unfair treatment, the movie closes by saying that the French government froze the pensions of the soldiers in 1959 before their countries were independent. This was an excellent film because it showed the numerous ways that racism and discrimination played a role in World War Two, while also providing insight into what the war was actually like.
This film provided French insight into the war in a number of ways. French soldiers referred to the German forces as “Krauts,” showing an obvious distaste for their enemy. I feel as if the French relate to their foes in a very stand-offish manner, keeping their emotional connections as humans to the Germans very limited, if at all. The only sympathy shown in the film for the Germans is that some of the French leaders demand respect be paid to the German dead when a few of their soldiers are being mutilated by their opponents. There is an obvious division in the French ranks between the Frenchmen and the Africans, even though they fight in battle together on a daily basis. This opposition, along with the bigger battle with the Germans, shows that the film represents more than one form of confrontation on the French side. Despite being treated poorly, the African have an enormous amount of loyalty to the French. They declare that France is their country now as well, and even when they are given the chance to forfeit the dangerous mission, they press on because they feel it is their duty to do so. As with any war, this film shows that there are numerous underlying conflicts and situations on the same side, besides the overall main conflict of World War Two.
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d in an act of defiance, Corporal Abdelkader smashes the crates of tomatoes and demands that the Africans have equal rights to the food. Throughout the film, he is the patriot for equality who represents the Africans, and they are eventually allowed to have any food that they want. While in France, Messaoud begins a romantic relationship with a French woman. Their romance eventually ends when his letters are censored and they have no means of communication. When Sergeant Martinez’s assistant dies, Said replaces him and is constantly harassed by the other soldiers because of it. They call him names like “wog,” a derogatory slang word for Africans and “aicha,” meaning slave. This part of the film shows the discrimination that took place even among the soldiers and fellow Muslims. Next, two major events take place in the film. The first event is when Said discovers that Sergeant Matinez’s mother is a Muslim as well. When Said mentions this to Martinez, Martinez is outr
aged and threatens to kill him if he ever tells his secret. It is incredible how ashamed he is about this detail of his life and constantly looks down upon the Muslims even though his own mother was one of them. A second major incident occurs when the Africans discover that the French soldiers are allowed leave to visit their homes and families while they are prohibited from going anywhere. In response to this racism, Abdelkader gathers a group together who demand justice be done. He is thrown in jail for his insolence and eventually is convinced to participate in a dangerous mission, along with the rest of his troops. Several of the men die along the journey to the battle, and after the fighting has ceased, only Abdelkader remains. Although the Africans held the Germans long enough for reinforcements to come and help with t
he victory, only white French soldiers stand next to the liberated villagers during a photo shoot that will inevitably be in a French newspaper. It is heartbreaking how the African soldiers fought with such bravery and heart, only to lose their lives and gain absolutely no recognition from the French government. The film fast-forwards in time many years later when Abdelkader returns to the gravesites of his former fighting companions. As if the Africans have not been through enough discrimination and unfair treatment, the movie closes by saying that the French government froze the pensions of the soldiers in 1959 before their countries were independent. This was an excellent film because it showed the numerous ways that racism and discrimination played a role in World War Two, while also providing insight into what the war was actually like. This film provided French insight into the war in a number of ways. French soldiers referred to the German forces as “Krauts,” showing an obvious distaste for their enemy. I feel as if the French relate to their foes in a very stand-offish manner, keeping their emotional connections as humans to the Germans very limited, if at all. The only sympathy shown in the film for the Germans is that some of the French leaders demand respect be paid to the German dead when a few of their soldiers are being mutilated by their opponents. There is an obvious division in the French ranks between the Frenchmen and the Africans, even though they fight in battle together on a daily basis. This opposition, along with the bigger battle with the Germans, shows that the film represents more than one form of confrontation on the French side. Despite being treated poorly, the African have an enormous amount of loyalty to the French. They declare that France is their country now as well, and even when they are given the chance to forfeit the dangerous mission, they press on because they feel it is their duty to do so. As with any war, this film shows that there are numerous underlying conflicts and situations on the same side, besides the overall main conflict of World War Two.
Additional Info:
- New York Times Review: http://movies.nytimes.com/2006/12/06/movies/06glor.html
- Boston Globe Review: http://www.boston.com/movies/display?display=movie&id=9752
- Facts about the crew, cast and plot: http://www.imdb.com/title/tt0444182/
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