Pub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0006
Noah Tsika
Through its diverse documentary devices, John Huston’s Army Signal Corps film Let There Be Light (1946) helped both to crystalize and to catalyze representations of combat trauma in the military as well as in Hollywood, serving as a key (if somewhat occluded) mediator between the two institutions. But it was far from the only military-produced documentary of the period to grapple, in observational fashion, with the effects of combat trauma, recording various therapeutic methods and enjoying a broad nontheatrical exhibition. Its institutional and filmic contexts form the subject of this chapter.
约翰·休斯顿(John Huston)的《陆军信号部队》(Army Signal Corps)电影《让光明存在》(Let There Be Light, 1946)通过其多样化的纪录片手段，帮助明确和催化了军队和好莱坞对战斗创伤的表现，成为两个机构之间关键的(如果有些被掩盖的)调解人。但它绝不是那个时期唯一一部以观察的方式探讨战争创伤影响、记录各种治疗方法、并享受广泛的非戏剧展览的军方纪录片。它的制度和电影背景构成了本章的主题。
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