As Edwin Starr asked in 1970: “War, huh, yeah! What is it good for?” Hollywood has known the answer to that one for a long time – war makes for very lucrative movies. From the trenches of the First World War to the urban combat of the Iraq War, there are many, many movies ready to show us combat, heroism, excitement and horror – more often than not veering close to, or outright crossing into, propaganda. The genre of war movies – even if we could spend many podcast episodes just trying to find a useful definition of what exactly makes a war movie – is often used to make a statement about one thing or another: nation and patriotism, masculinity, class, ideology. While we talk about all of these things with our guest Laura Binz, we look at an atypical example of a war movie (and one that Roger Ebert famously walked out of): the Italian film Mediterraneo (1991) by director Gabriele Salvatores, which won the Academy Award for Best Foreign Language Film in 1992. Is there such a thing as a war movie when the war only takes place far, far away?
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