1. Benziman, Yuval. ""Mom, I'm Home": Israeli Lebanon-War Films as Inadvertent Preservers of the National Narrative." Israel Studies 18.3 (2013): 112-32. Print.
Film portrayals of war are often criticized for only showing negative effects of war but can actually support the war efforts by bringing attention to details. Society needs a common background to define who they are are often nationalism and patriotism stems from this belief. The everyday conflict of people who are different who approach the "this side vs the other side" approach parallels to how wars between nations occur.
2.Clarke, E. A. "Ideal Heroes: Nostalgic Constructions of Masculinity in "Tigerland" and "we were Soldiers."." Literature Film Quarterly 34.1 (2006): 19-26. Print.
The 1980s films TIgerland and We Were Soldiers were "retrogressing" into adjusting content to the audience; in the Reagan era the film showed more patriotism and masculinity in the war. The article discusses how the Reagan era wanted to shape the image of the US; to be patriotic and proud of the US' decisions. Essentially, to me the article is a testimony of how government intervention of films can alter how people perceive war and what is socially accepted to think of homeland wars.
3. Fisher, Jaimey. "The Haptic Horrors of War: Towards a Phenomenology of Affect and Emotion in the War Genre in Germany, 1910s to 1950s." Seminar -- A Journal of Germanic Studies 50.1 (2014): 51-68. Print.
WWII affected a larger number of people because war was not limited to higher class men who fought in war to be revered and further changed the idea of romanticism towards war which also began fading in WWI. War films try to challenge the conventional means of appealing through emotion to the audience but also have effects on the body; the idea of incommunicable and communicable experiences. The film genre offers artificial, rehearsed, and calculated features which help to create the emotional goals of the authors. However, rehearsed and scripted events do not produce the same effect on people if they were experienced these events in real life and thus creates a problem in analyzing "phenomenological vein."
4. MISIAK, ANNA. "Don't Look to the East: National Sentiments in Andrzej Wajda's Contemporary Film Epics." Journal of Film & Video 65.3 (2013): 26-39. Print.
Government censorship is another characteristic of war films. The article discusses how censorship coerces people into thinking what the government feels is best for the nation as a whole. Political opinions are discouraged during censorship and films portraying other sides of the conflict inhibits what the public needs to make informed opinions about conflicts.
5. Philpott, Simon. "Is Anyone Watching? War, Cinema and Bearing Witness." Cambridge Review of International Affairs 23.2 (2010): 325-48. Print.
War films displaying wars in Vietnam and other early films have been criticizing how the US handles international relations with other nations through war. However, the current situations in the Middle East have been controversial with conservatives; the films do not show patriotism. The article expands on how films can show effects of war and the biases of films portraying the opposing side a total enemy. 
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