Saving Private Ryan (Spielberg, 1998) as a Post-Vietnam War Film in Search of Moral Legibility by Mehdi Achouche

“…This creates structural ambiguity in a film that strives to acknowledge the horrors of warfare while still trying to restore the sense of moral legibility and decency that is specific to WW2 and had been lost in Vietnam War films. …”
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Une « drôle de guerre » à l’écran : Khalkhin Gol by Alexandre Sumpf

“…Finally, it must demonstrate to foreigners the Red Army's readiness and praise the Soviets' contribution to the local economy and human progress, while claiming that power is destined only for defensive warfare. Under the misleading appearance of a linear narrative, there is thus a complex mechanism that uses all the weapons developed by Soviet film propaganda from the previous two decades – in vain, it seems, since the film finally remains "on the shelf", considered inappropriate in 1940 when the "Strange peace" settles in the East of Europe.…”
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Cross-Gendering the Racial Memory by Marlon B. Ross

“…Erecting a feminine monument to emblematize and materialize highly abstract notions like nationhood, justice, peace, warfare, virtue, democracy, pro/creativity, and truth has a long history in many cultures across the globe. …”
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