War film is a film genre concerned with warfare about naval, air, or land battles, with combat scenes central to the drama. It has been associated with the 20th century; the fateful nature of battle scenes means that war films end with them. Themes explored include combat and escape, camaraderie between soldiers, the futility and inhumanity of battle, the effects of war on society, the moral and human issues raised by war. War films are categorized by their milieu, such as the Korean War; the stories told may be historical drama, or biographical. Critics have noted similarities between the war film. Nations such as China, Indonesia and Russia have their own traditions of war film, centred on their own revolutionary wars but taking varied forms, from action and historical drama to wartime romance. Subgenres, not distinct, include anti-war, animated and documentary. There are subgenres of the war film in specific theatres such as the Western Desert of North Africa, the Pacific in the Second World War, or Vietnam.
The war film genre is not tightly defined: the American Film Institute, for example, speaks of "films to grapple with the Great War" without attempting to classify these. However, some directors and critics have offered at least tentative definitions; the director Sam Fuller defined the genre by saying that "a war film’s objective, no matter how personal or emotional, is to make a viewer feel war." John Belton identified four narrative elements of the war film within the context of Hollywood production: a) the suspension of civilian morality during times of war, b) primacy of collective goals over individual motivations, c) rivalry between men in predominantly male groups as well as marginalization and objectification of women, d) depiction of the reintegration of veterans. The film critic Stephen Neale suggests that the genre is for the most part well defined and uncontentious, since war films are those about war being waged in the 20th century, with combat scenes central to the drama. However, Neale notes, films set in the American Civil War or the American Indian Wars of the 19th century were called war films in the time before the First World War.
The critic Julian Smith argues, on the contrary, that the war film lacks the formal boundaries of a genre like the Western, but that in practice, "successful and influential" war films are about modern wars, in particular World War II, with the combination of mobile forces and mass killing. The film scholar Kathryn Kane points out some similarities between the war film genre and the Western. Both genres use opposing concepts like war and peace and savagery. War films frame World War II as a conflict between "good" and "evil" as represented by the Allied forces and Nazi Germany whereas the Western portrays the conflict between civilized settlers and the savage indigenous peoples. James Clarke notes the similarity between a Western like Sam Peckinpah's The Wild Bunch and "war-movie escapades" like The Dirty Dozen. Film historian Jeanine Basinger states that she began with a preconception of what the war film genre would be, namely that What I knew in advance was what every member of our culture would know about World War II combat films—that they contained a hero, a group of mixed types, a military objective of some sort.
They take place in the actual combat zones of World War II, against the established enemies, on the ground, the sea, or in the air. They contain many repeated events, such as mail call, all presented visually with appropriate uniforms and iconography of battle. Further, Basinger considers Bataan to provide a definition-by-example of "the World War II combat film", in which a diverse and unsuited group of "hastily assembled volunteers" hold off a much larger group of the enemy through their "bravery and tenacity", she argues. Since she notes that there were in fact only five true combat films made during the Second World War, in her view these few films, central to the genre, are outweighed by the many other films that lie on the margins of being war films. However, other critics such as Russell Earl Shain propose a far broader definition of war film, to include films that deal "with the roles of civilians, espionage agents, soldiers in any of the aspects of war" Neale points out that genres overlap, with combat scenes for different purposes in other types of film, suggests that war films are characterised by combat which "determines the fate of the principal characters".
This in turn pushes combat scenes to the climactic ends of war films. Not all critics agree, that war films must be about 20th-century wars. James Clarke includes Edward Zwick's Oscar-winning Glory among the war films he discusses in detail; the military historian Antony Beevor "despair" at how film-makers from America and Britain "play fast and loose with the facts", yet imply that "their version is as good as the truth." For example, he calls the 2000 American film U-571 a "shameless deception" for pretending that a US warship had helped to win the Battle of the Atlantic—seven months before America entered the war. He is critical of Christopher Nolan's 2017 film Dunkirk with its unhistorically empty beaches, low-level air combat over the sea, res
The Very Best of Macy Gray is the first greatest hits album by American singer and songwriter Macy Gray. It was released on August 2004, by Epic Records, it contains all singles from Gray's first three studio albums, as well as two unreleased tracks, three album tracks, three remixes, the 2000 single "Demons", a collaboration with Fatboy Slim. The album peaked at number 36 on the UK Albums Chart and charted moderately in other European countries. On December 1, 2008, the album was reissued in the United Kingdom including "Winter Wonderland", which first appeared as a B-side to "Sexual Revolution" and was featured in the Marks & Spencer Christmas ads. A few weeks the song reached number 76 on the UK Singles Chart. Notes ^a signifies a co-producer ^b signifies a vocal producer ^c signifies a remixerSample credits "Do Something" contains a sample of "Git Up, Git Out" by OutKast and "Funky for You" by Nice & Smooth. "I've Committed Murder" contains a sample of "Live Right Now" by Eddie Harris and an interpolation of " Love Story" by Francis Lai & His Orchestra.
"Demons" contains a sample of "I Can't Write Left-Handed" by Bill Withers
Charter Oak High School is a four-year comprehensive secondary school in the Charter Oak Unified School District. It is located in the City of Covina, California, in the San Gabriel Valley east of Los Angeles The school serves 9th, 10th, 11th and 12th graders from the communities of Covina and San Dimas. Enrollment in 2016-17 was 1,566. Charter Oak High School, which opened in 1959, is accredited by the Western Association of Schools and Colleges. Charter Oak High School was named a California Distinguished School in 1996 and 2007 and a 2015 Gold Ribbon School; the school was named one of the top 1,500 high schools in the country by Newsweek magazine in 2009. International Baccalaureate program: Charter Oak was the first Los Angeles County high school to adopt the rigorous IB program. BETA Health and Wellness Academy: Project Lead the Way biomedical pathway program Project Lead the Way Engineering Design and Development Academy Advanced Placement Advancement Via Individual Determination Shane Bowers, Major League Baseball player Mike Dyer, Major League Baseball player Tommy Lee, drummer Vince Neil, singer Keith Smith NFL fullback Ron Wilson The Surfaris drummer/singer Wipe Out Surfer Joe - Class of 1963 Roger Nelson Major League Baseball Player - Class of 1962 Chuck Henry Television Journalist - Class of 1963 Enrollment in the 2016-2017 school year is 1,566.