4 The submarine war and the submarine film
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Jonathan Rayner
Abstract
The tendency to subsume submarine films within the combat genre does not credit their recognisable narrative and representational differences, even where they are properly identified. This chapter distinguishes the films according to these differences, not only from other wartime productions, but also from other naval war films in matters of degree. Filmic representations of American submarine operations reveal marked consistencies, in the characterisation of crews and commanders, stock situations and representational conventions, as well as being governed by the overarching ideological imperatives. Destination Tokyo is analysed at length in Basinger's assemblage of the combat film paradigm, because of its commonality with many infantry combat films. Post-war submarine films foreground conflicts in command within the confines of sub-surface craft. The questioning of authority which these post-war submarine films undertake is more searching and potentially damaging than that seen in examples depicting surface ships. The challenge to command authority, vested in the rebellious executive officer, also recurs in comedy films set aboard submarines. These films turn on the humour of incongruity and unmilitary conduct within the context of regulation- and tradition-bound institutions.
Abstract
The tendency to subsume submarine films within the combat genre does not credit their recognisable narrative and representational differences, even where they are properly identified. This chapter distinguishes the films according to these differences, not only from other wartime productions, but also from other naval war films in matters of degree. Filmic representations of American submarine operations reveal marked consistencies, in the characterisation of crews and commanders, stock situations and representational conventions, as well as being governed by the overarching ideological imperatives. Destination Tokyo is analysed at length in Basinger's assemblage of the combat film paradigm, because of its commonality with many infantry combat films. Post-war submarine films foreground conflicts in command within the confines of sub-surface craft. The questioning of authority which these post-war submarine films undertake is more searching and potentially damaging than that seen in examples depicting surface ships. The challenge to command authority, vested in the rebellious executive officer, also recurs in comedy films set aboard submarines. These films turn on the humour of incongruity and unmilitary conduct within the context of regulation- and tradition-bound institutions.
Chapters in this book
- Front matter i
- Dedication v
- Contents vii
- Acknowledgements ix
- Introduction 1
- 1 British naval films and the documentary feature 32
- 2 Post-war British naval films and the service comedy 54
- 3 Hollywood and the one-ocean war 80
- 4 The submarine war and the submarine film 103
- 5 American films of the Cold War 120
- 6 ‘Damn the photon torpedoes!’ 153
- 7 Popularising the navy, rewriting the past 173
- Conclusion 208
- Appendix I 227
- Appendix II 231
- Filmography 240
- Bibliography 257
- Index 269
Chapters in this book
- Front matter i
- Dedication v
- Contents vii
- Acknowledgements ix
- Introduction 1
- 1 British naval films and the documentary feature 32
- 2 Post-war British naval films and the service comedy 54
- 3 Hollywood and the one-ocean war 80
- 4 The submarine war and the submarine film 103
- 5 American films of the Cold War 120
- 6 ‘Damn the photon torpedoes!’ 153
- 7 Popularising the navy, rewriting the past 173
- Conclusion 208
- Appendix I 227
- Appendix II 231
- Filmography 240
- Bibliography 257
- Index 269
