Editing War film (section)

== Subgenres ==

=== Documentary ===
{{further|Documentary war film|List of World War II documentary films}}

The wartime authorities in both Britain and America produced a wide variety of [[documentary]] films. Their purposes included military training, advice to civilians, and encouragement to maintain security. Since these films often carried messages, they grade into propaganda. Similarly, commercially produced films often combined information, support for the war effort, and a degree of propaganda.<ref name="Swann1989" /><ref name="Manning2004" /> [[Newsreels]], ostensibly simply for information, were made in both Allied and Axis countries, and were often dramatised.<ref>{{Cite web |title=The Art of Wartime Newsreels – 1940 through 1946 |url=http://1940s.org/the-art-of-wartime-newreels-1940-through-1946 |publisher=1940s.org |access-date=8 March 2015 |archive-date=2 April 2015 |archive-url=https://web.archive.org/web/20150402145934/http://1940s.org/the-art-of-wartime-newreels-1940-through-1946 |url-status=dead }}</ref><ref>{{Cite web |title=German Wartime Newsreels (Die Deutsche Wochenschau) |url=http://ihffilm.com/gerwarnew.html |publisher=International Historic Films |access-date=8 March 2015 |archive-url=https://web.archive.org/web/20150402194402/http://ihffilm.com/gerwarnew.html |archive-date=2015-04-02 |url-status=dead }}</ref><ref>{{Cite web|title=Wartime Newsreel British News Now Online|url=http://bufvc.ac.uk/2012/05/04/british-news|publisher=British Universities Film & Video Council|access-date=8 March 2015}}</ref> More recently, in the [[Iran–Iraq War]], [[Morteza Avini]]'s ''[[Ravayat-e Fath]]'' (Chronicles of Victory) television series combined front-line footage with commentary.<ref>{{Cite book |last1=Rastegar |first1=Kamran |title=Surviving Images: Cinema, War, and Cultural Memory in the Middle East |date=2015 |publisher=Oxford University Press |isbn=978-0-19-939017-5 |page=213}}</ref>

=== Propaganda ===
{{further|Propaganda film|World War I film propaganda}}
[[File:Nevsky2.jpg|thumb|[[Teutonic Order]] (German) monks prepare the hanging of a Russian resistance leader. Still from ''[[Alexander Nevsky (film)|Alexander Nevsky]]'' (1938)]]

[[Sergei Eisenstein]]'s 1938 historical drama ''[[Alexander Nevsky (film)|Alexander Nevsky]]'' depicts [[Alexander Nevsky|Prince Alexander]]'s defeat of the attempted invasion of the Russian city of [[Novgorod]] by the [[Teutonic Knights]].<ref>{{Cite web |last1=Hoberman |first1=J. |title=Alexander Nevsky |url=http://www.criterion.com/current/posts/8-alexander-nevsky |publisher=Criterion |access-date=4 March 2015}}</ref> By April 1939 the film had been seen by 23,000,000 people.<ref>{{Cite book | author=Anderson, Kyril |title=Kremlevskij Kinoteatr. 1928–1953: Dokumenty | publisher=Rospen Press |year=2005 | isbn=978-5-8243-0532-6 | page=539}}</ref> In 1941 the director and three others were awarded the [[State Stalin Prize|Stalin Prize]] for their contributions. The film features a musical score by the classical composer [[Sergei Prokofiev]], considered by artists such as the composer [[André Previn]] the best ever written for cinema.<ref>{{Cite web |last1=Lysy |first1=Craig |title=Alexander Nevsky – Sergei Prokofiev {{!}} 100 Greatest Scores of All Time |url=https://moviemusicuk.us/2015/11/09/alexander-nevsky-sergei-prokofiev/ |publisher=Movie Music UK |date=9 November 2015 |quote=Composer André Previn once remarked that Prokofiev's music for Alexander Nevsky was 'the greatest film score ever written, trapped inside the worst soundtrack ever recorded.'}}</ref><ref>{{Cite web |title=Watch It for the Soundtrack: 'Alexander Nevsky' |url=https://www.npr.org/templates/story/story.php?storyId=18860465&t=1544433041639 |publisher=[[NPR]] |date=10 February 2008 |quote=SEABROOK: The most exciting film music of all, Prokofiev.  KORNBLUTH: Because it's so completely matches sound to image that you'll only have to hear that to know what you're seeing.}}</ref> Russell Merritt, writing in ''Film Quarterly'', describes it as a "war [[propaganda film]]".<ref>{{Cite journal |last1=Merritt |first1=Russell |title=Recharging "Alexander Nevsky": Tracking the Eisenstein-Prokofiev War Horse |journal=Film Quarterly |date=1994 |volume=48 |issue=2|pages=34–47 |jstor=1213094 |doi=10.1525/fq.1994.48.2.04a00050}}</ref> A 1978 [[Arnoldo Mondadori Editore|Mondadori]] poll placed ''Alexander Nevsky'' among the world's 100 best motion pictures.<ref>{{Cite web |url=http://www.ruscico.com/catalog/cataloguedvd/catalogue_106.html |title=mindupper.com |publisher=Ruscico.com |access-date=4 March 2015 |archive-url=https://web.archive.org/web/20170419073546/http://www.ruscico.com/catalog/cataloguedvd/catalogue_106.html |archive-date=2017-04-19 |url-status=dead }}</ref>

[[File:Transmitlies.jpeg|thumb|left|Screenshot from [[Frank Capra]]'s wartime ''[[Why We Fight]]'' series,<ref>{{Cite web |last1=Silver |first1=Charles |title=Why We Fight: Frank Capra's WWII Propaganda Films |url=http://www.moma.org/explore/inside_out/2011/06/07/why-we-fight-frank-capras-wwii-propaganda-films/ |publisher=Museum of Modern Art (MoMA) |date=7 June 2011}}</ref> depicting lies being broadcast by the [[Nazi propaganda]] machine]]

During the Second World War, [[propaganda film|film propaganda]] was widely used. [[Kenneth Clark]] advised the British government that "If we renounced interest in entertainment as such, we might be deprived of a valuable weapon for getting across our propaganda"; he suggested using documentaries about the war and the war effort; celebrations of Britishness; and films about British life and character. [[Michael Powell]] and Clark agreed on a story about survivors of a [[U-boat]] crew, imbued with brutal Nazi ideology, travelling across Canada and meeting various kind, tolerant and intelligent Canadians, to encourage America into the war. The resulting film, ''[[49th Parallel (film)|49th Parallel]]'' (1941), became the top film at British offices that year.{{sfn|Murphy|2005|pp=61–62}} Entertaining films could carry messages about the need for vigilance, too, as in ''[[Went the Day Well?]]'' (1942) or the avoidance of "careless talk", as in ''[[The Next of Kin]]'' (1942).<ref name="Swann1989" />

[[File:CasablancaPoster-Gold.jpg|thumb|upright=0.8|The romantic drama ''[[Casablanca (film)|Casablanca]]'' (1943) vilified Nazism.]]

In America, [[Charlie Chaplin]]'s ''[[The Great Dictator]]'' (1940) clearly satirised [[fascism]].<ref name=HMM>{{Cite web |title=World War II Movies – Propaganda and Patriotism |url=http://www.hollywoodmoviememories.com/articles/war-articles/world-war-ii-movies-propaganda.php |access-date=8 March 2015 |archive-date=21 February 2015 |archive-url=https://web.archive.org/web/20150221193251/http://www.hollywoodmoviememories.com/articles/war-articles/world-war-ii-movies-propaganda.php |url-status=dead }}</ref> [[Michael Curtiz]]'s ''[[Casablanca (film)|Casablanca]]'' (1943) was not simply a romance between the characters played by [[Humphrey Bogart]] and [[Ingrid Bergman]], but vilified the [[Nazi]]s and glorified resistance to them.<ref name=HMM /> Frank Capra's ''[[Why We Fight]]'' series (1942–1945) won the 1942 Academy Award for best documentary, though it was designed to "influence opinion in the U.S. military".<ref name="Manning2004" /><ref>{{Cite journal | last=German | first=Kathleen | title=Frank Capra's Why We Fight Series and the American Audience | journal=Western Journal of Speech Communication | volume=54 | issue=2 | year=1990 | pages=237–48 | doi=10.1080/10570319009374338}}</ref>

During the [[Cold War]], "propaganda played as much of a role in the United States' struggle with the Soviet Union as did the billions of dollars spent on weaponry."<ref name="Fort Devens 2015" /> ''[[Face to Face with Communism]]'' (1951) dramatised an imagined invasion of the United States; other films portrayed threats such as communist indoctrination.<ref name="Fort Devens 2015">{{Cite web |title=The Fort Devens Collection |url=http://hcl.harvard.edu/hfa/collections/fort_devens.html |publisher=Harvard Film Archive |access-date=12 March 2015 |archive-url=https://web.archive.org/web/20150307060650/http://www.hcl.harvard.edu/hfa/collections/fort_devens.html |archive-date=2015-03-07 |url-status=dead }}</ref>

=== Submarine ===
{{Main|Submarine films}}
[[File:Bavaria Filmstudio Das Boot 4.jpg|thumb|left|The cramped, equipment-filled setting of a [[submarine films|submarine film]], ''[[Das Boot]]'' (1981), recreated in the Bavaria film studio]]

[[Submarine films]] have their own particular meanings and conventions, concerned specifically with giving the effect of [[submarine warfare]]. A distinctive element in this subgenre is the [[soundtrack]], which attempts to bring home the emotional and dramatic nature of conflict under the sea. For example, in [[Wolfgang Petersen]]'s 1981 ''[[Das Boot]]'', the sound design works together with the hours-long film format to depict lengthy pursuit with [[depth charge]]s, the ping of [[sonar]], and threatening sounds such as of the [[propellor|propellers]] of enemy [[destroyer]]s and [[torpedo]]es.<ref name=Koldau>{{Cite journal |last1=Koldau |first1=Linda Maria |title=Sound effects as a genre-defining factor in submarine films|journal=MedieKultur |date=2010 |volume=26 |issue=48 |pages=18–30 |url=http://ojs.statsbiblioteket.dk/index.php/mediekultur/article/viewFile/2117/2393|doi=10.7146/mediekultur.v26i48.2117|doi-access=free}}</ref> Classic films in the genre include ''[[The Enemy Below]]'' (1957)<ref>{{Cite news |title=Duel to the Death |url=https://www.nytimes.com/movie/review?res=9501EFD91131E63ABC4E51DFB467838C649EDE |newspaper=[[New York Times]] |access-date=8 March 2015 |date=26 December 1957}}</ref> and ''[[Run Silent, Run Deep (1958 film)|Run Silent, Run Deep]]'' (1958), both based on novels by naval commanders. ''Run Silent, Run Deep'' is a movie full of tension, both with the enemy and between the contrasting personalities of the submarine Commander and his Lieutenant, played by [[Clark Gable]] and [[Burt Lancaster]].<ref>{{Cite news |last1=Crowther |first1=Bosley |title=Run Silent Run Deep (1958) |url=https://www.nytimes.com/movie/review?res=9E01E7D6113FE43BBC4051DFB5668383649EDE |newspaper=New York Times |access-date=8 March 2015 |date=28 March 1958}}</ref>

=== Prisoner of war ===
{{further|Prisoner of war#In popular culture}}
[[File:Model Stalag Luft III.jpg|thumb|Model of [[Stalag Luft III]] used in filming ''[[The Great Escape (film)|The Great Escape]]'' (1963)]]

A popular subgenre of war films in the 1950s and 1960s was the [[prisoner of war]] film.<ref name=BFI-Wigley>{{Cite web |last1=Wigley |first1=Samuel |title=10 great prisoner-of-war films |date=18 April 2013 |url=https://www.bfi.org.uk/lists/10-great-prisoner-war-films |publisher=British Film Institute |access-date=6 March 2015}}</ref> The genre was popularised in [[United Kingdom|Britain]] with major films like [[Guy Hamilton]]'s ''[[The Colditz Story]]'' (1955) and [[John Sturges]]'s American film ''[[The Great Escape (film)|The Great Escape]]'' (1963).<ref name=BFI-Wigley /> They told stories of real escapes from [[Nazi Germany|German]] prisoner of war camps such as [[Stalag Luft III]] in the Second World War. Despite episodes of danger and human tragedy, these films delight in a continual boyish game of escape and ingenuity, celebrating the courage and the defiant spirit of the prisoners of war, and treating war as fun.<ref name=BFI-Wigley /><ref>{{Cite web |last1=O'Neill |first1=Esther Margaret |title=British World War Two Films 1945–65: Catharsis or National Regeneration? |url=https://core.ac.uk/download/pdf/19576241.pdf |publisher=University of Central Lancashire (PhD Thesis) |pages=57 and passim |date=October 2006}}</ref><ref>{{Cite book |last1=MacKenzie |first1=S. P. |title=The Colditz Myth British and Commonwealth Prisoners of War in Nazi Germany |date=2004 |publisher=Oxford University Press |isbn=978-0-19-926210-6 |page=20 and passim |quote=stung by criticism of the schoolboyish tone of his original account ... Reid ...}}</ref> [[David Lean]]'s ''[[Bridge on the River Kwai]]'' (1957) was judged best picture at the Oscars; it took the genre from chilly German prisons to the heat of a camp in Thailand. It was the first, too, to use lush colour to bring out the British [[stiff upper lip]] of the colonel, played by [[Alec Guinness]] in an Oscar-winning performance.<ref name=BFI-Wigley /> The "definitive" Oscar-winning prisoner of war film was [[Billy Wilder]]'s ''[[Stalag 17]]'' (1953), while the brief but powerful prison camp scenes of ''[[The Deer Hunter]]'' (1978) lend an air of tragedy to the whole of that film.<ref name=BFI-Wigley />

=== Comedy ===
[[File:Shoulder Arms poster.jpg|thumb|upright=0.65|First military comedy: [[Charlie Chaplin]]'s ''[[Shoulder Arms]]'' (1918)]]
{{further|Comedy film#Military comedy}}

[[Charlie Chaplin]]'s ''[[Shoulder Arms]]'' (1918) set a style for war films to come, and was the first comedy about war in [[film history]].<ref>{{Cite web |title=Charlie Chaplin goes to War |url=http://chnm.gmu.edu/episodes/charlie-chaplin-goes-to-war/ |publisher=RRCHNM |access-date=6 March 2015 |archive-url=https://web.archive.org/web/20150316071512/http://chnm.gmu.edu/episodes/charlie-chaplin-goes-to-war/ |archive-date=2015-03-16 |url-status=dead }}</ref><ref name=BFI-Thrift>{{Cite web |last1=Thrift |first1=Matthew |title=10 great First World War films |url=https://www.bfi.org.uk/lists/10-great-first-world-war-films |publisher=British Film Institute |access-date=6 March 2015 |date=1 July 2014}}</ref>

British cinema in the Second World War marked the evacuation of children from London with social comedies such as ''[[Those Kids from Town]]'' (1942) where the evacuees go to stay with an [[earl]], while in ''[[Cottage to Let]]'' (1941) and ''[[Went the Day Well?]]'' (1942) the English countryside is thick with spies.{{sfn|Murphy|2005|pp=34–35}} ''[[Gasbags]]'' (1941) offered "zany, irreverent, knockabout" comedy making fun of everything from [[barrage balloon]]s to [[concentration camp]]s.{{sfn|Murphy|2005|p=41}} [[Abbott and Costello]]'s ''[[Buck Privates]]'' (1941) was successful in America,<ref>{{Cite news |last=Strauss |first=Theodore |title=At Loew's State |url=https://www.nytimes.com/1941/02/14/archives/at-loews-state.html |newspaper=[[New York Times]] |date=14 February 1941}}</ref> leading to many further wartime comedies.{{sfn|Erickson|2012|pp=''passim''}}

=== Animated ===
[[File:Winsor McCay - The Sinking of the Lusitania still - Lusitania torpedoed.jpg|thumb|left|First animated propaganda film: [[Winsor McCay]]'s ''[[The Sinking of the Lusitania]]'' (1918)]]

[[Winsor McCay]]'s ''[[The Sinking of the Lusitania]]'' (1918) was a [[silent film|silent]] First World War film. At 12 minutes long, it was the longest [[animated film]] made at that time. It was probably the first animated propaganda film to be made; it remains the earliest serious animated drama that has survived.<ref>{{Cite book |last=Theisen |first=Earl |chapter=The History of the Animated Cartoon |pages=[https://archive.org/details/technologicalhis0000fiel/page/84 84]–87 |editor-last=Fielding |editor-first=Raymond |title=A Technological History of Motion Pictures and Television |url=https://archive.org/details/technologicalhis0000fiel |url-access=registration |year=1967 |orig-date=1933 |publisher=University of California Press |isbn=978-0-520-00411-5}}</ref><ref>{{Cite journal |last=Mikulak |first=Bill |title=Mickey Meets Mondrian: Cartoons Enter the Museum of Modern Art |journal=Cinema Journal |volume=36 |issue=3 |date=Spring 1997 |pages=56–72 |publisher=University of Texas Press |jstor=1225675|doi=10.2307/1225675 }}</ref><ref>{{Cite book |last=Wells |first=Paul |year=2002 |title=Animation: Genre and Authorship |publisher=Wallflower Press |isbn=978-1-903364-20-8 |page=116}}</ref> Through World War II, animated propaganda shorts remained influential in American cinema. The [[Walt Disney Company]], working with the American armed forces, [[Walt Disney's World War II propaganda production|produced 400,000 feet of war propaganda films]] between 1942 and 1945,<ref name="animat">{{Cite journal |last=Churchill |first=Edward |date=March 1945 |title=Walt Disney's Animated War |journal=Flying |volume=36 |issue=3 | pages= 50–51, 134–138 |url=https://books.google.com/books?id=BQKNhDRiv_kC}}</ref> including ''[[Der Fuehrer's Face]]'' (1943) and ''[[Education for Death]]'' (1943).<ref>{{Cite book |title=Doing Their Bit: Wartime American Animated Short Films, 1939–1945 |page=60  |edition=2nd |last1=Shull |first1=Michael S. |last2=Wilt |first2=David E. |publisher=McFarland and Company |url=https://books.google.com/books?id=hKrmuvh4PQkC |year=2005 |location=Jefferson, North Carolina |isbn=978-0-7864-1555-7}}</ref>

Japanese [[anime]] films from the 1960s onwards addressed national memories of war. ''[[Akira (1988 film)|Akira]]'' (1988) moves from the [[Atomic bombings of Hiroshima and Nagasaki|atomic destruction of Hiroshima and Nagasaki]] to apocalyptic visions of global conflict; ''[[Grave of the Fireflies]]'' (1988) is elegiac on the effect of war on children.<ref>{{Cite web |last1=Singleton |first1=Jack |title=Japanese Animation, the Pacific War and the Atomic Bomb |url=http://www.impactnottingham.com/2011/08/japanese-animation-the-pacific-war-and-the-atomic-bomb/ |publisher=Impact, University of Nottingham |access-date=11 March 2015 |date=23 August 2011 |archive-date=7 September 2019 |archive-url=https://web.archive.org/web/20190907230514/http://impactnottingham.com/2011/08/japanese-animation-the-pacific-war-and-the-atomic-bomb/ |url-status=dead }}</ref>{{sfn|Napier|2005|pp=1–3}} ''[[Barefoot Gen (1983 film)|Barefoot Gen]]'' (1983) portrays the bombing of Hiroshima through the eyes of a child,<ref>{{Cite web |last=Masaki |first=Mori |title=Barefoot Gen |date=13 June 1992|url=https://www.imdb.com/title/tt0085218/|others=Issei Miyazaki, Catherine Battistone, Yoshie Shimamura |website=[[IMDb]] |access-date=1 November 2017}}</ref> but reviewers consider it a less well made film than ''Grave of the Fireflies'' with "stomach-churning detail" bizarrely paired with crude artwork, giving it the look of a "Saturday morning Warner Brothers cartoon".<ref>{{Cite web |last1=See |first1=Raphael |title=Barefoot Gen |url=http://www.themanime.org/viewreview.php?id=50 |publisher=T.H.E.M. Anime Reviews |access-date=12 March 2015}}</ref>

=== Anti-war ===
{{further|List of anti-war films}}
[[File:All Quiet on the Western Front (1930 film) poster.jpg|thumb|upright=0.65|Anti-war: [[Lewis Milestone]]'s  ''[[All Quiet on the Western Front (1930 film)|All Quiet on the Western Front]]'', 1930]]

The anti-war genre began with films about the First World War. Films in the genre are typically revisionist, reflecting on past events and often generically blended. [[Lewis Milestone]]'s ''[[All Quiet on the Western Front (1930 film)|All Quiet on the Western Front]]'' (1930) was unquestionably powerful, and an early anti-war film, portraying a German point of view; it was the first film (in any genre) to win two Oscars, best picture and best director.<ref name=BFI-Thrift /> Andrew Kelly, analysing ''All Quiet on the Western Front'', defined the genre as showing: the brutality of war; the amount of human suffering; the betrayal of men's trust by incompetent officers. War and anti-war films often prove difficult to categorize as they contain many generic ambiguities.{{sfn|Neale|2000|p=117}} While many anti-war films criticize war directly through depictions of grisly combat in past wars, some films such as Penn's ''[[Alice's Restaurant (film)|Alice's Restaurant]]'' criticized war obliquely by poking fun at such things as the draft board.<ref>{{Cite journal |last=Paris |first=Michael |title=The American Film Industry & Vietnam |url=http://www.historytoday.com/michael-paris/american-film-industry-vietnam |journal=History Today |volume=37 |issue=4 |date=4 April 1987}}</ref> The number of anti-war films produced in America dipped sharply during the 1950s because of [[McCarthyism]] and the [[Hollywood blacklist]].<ref>{{Cite book |title=Film Criticism, the Cold War, and the Blacklist |jstor=10.1525/j.ctt6wqb6x |last=Smith |first=Jeff |publisher=University of California Press |year=2014 |isbn=978-0-520-95851-7 |chapter=Reading the Hollywood Reds }}</ref> The end of the blacklist and the introduction of the MPAA rating system marked a time of resurgence for films of all type including anti-war films in the States. Robert Eberwein names two films as anti-war classics.{{sfn|Eberwein|2005|p=4}} The first is [[Jean Renoir]]'s  prisoner of war masterpiece<ref name=BFI-Thrift /> ''[[Grand Illusion (film)|La Grande Illusion]]'' (''The Grand Illusion'', 1937). Renoir's critique of contemporary politics and ideology celebrates the universal humanity that transcends national and racial boundaries and radical nationalism, suggesting that mankind's common experiences should prevail above political division, and its extension: war.<ref>Stephen Pendo, ''Aviation in the Cinema'' (1985) p. 107.</ref> The second is [[Stanley Kubrick]]'s ''[[Paths of Glory]]'' (1957). The critic [[David Ehrenstein]] writes that ''Paths of Glory'' established Kubrick as the "leading commercial filmmaker of his generation" and a world-class talent. Ehrenstein describes the film as an "outwardly cool/inwardly passionate protest drama about a disastrous French army maneuver and the court-martial held in its wake", contrasting it with the "classic" ''All Quiet on the Western Front'''s story of an innocent "unstrung by the horrors of war".<ref>{{Cite web |last=Ehrenstein |first=David |title=Paths of Glory |url=http://www.criterion.com/current/posts/812-paths-of-glory |publisher=The Criterion Collection |date=25 June 1989 |access-date=8 March 2015}}</ref>

=== Mixed genres ===

Comedy gave scope for [[satire]], and post-war film-makers merged comedy and anti-war sentiment in films as varied as ''[[Stalag 17]]'' (1953) and ''[[Dr. Strangelove]]'' (1964).{{sfn|Erickson|2012|pp=314–368}} [[Black comedy|Black comedies]] like [[Mike Nichols]]'s ''[[Catch-22 (film)|Catch-22]]'' (1970), based on [[Joseph Heller]]'s [[Catch-22|satirical novel]] about the Second World War, and [[Robert Altman]]'s ''[[M*A*S*H (film)|M*A*S*H]]'' (1970), set in Korea, reflected the attitudes of an increasingly sceptical public during the Vietnam War.<ref name=NYT-Catch-22>{{Cite news |last1=Bozzola |first1=Lucia |title=Movies: Catch-22 (1970) |url=https://www.nytimes.com/movies/movie/8628/Catch-22/overview |archive-url=https://web.archive.org/web/20131110143651/http://www.nytimes.com/movies/movie/8628/Catch-22/overview |url-status=dead |archive-date=10 November 2013 |department=Movies & TV Dept. |work=[[The New York Times]] |date=2013 |access-date=10 March 2015}}</ref>

Other genres were combined in [[Franklin J. Schaffner]]'s ''[[Patton (film)|Patton]]'' (1970), about real life General [[George S. Patton]], where combat scenes were interleaved with commentary about how he waged war, showing good and bad sides to a command. It and ''MASH'' became the two most profitable war/anti-war films made up to that time,{{sfn|Suid|2002|pp=260–277}} and ''Patton'' won seven [[Academy Awards]].<ref>{{Cite web |url=http://www.oscars.org/oscars/ceremonies/1971 |title=The 43rd Academy Awards (1971) Nominees and Winners |date=4 October 2014 |access-date=8 March 2015}}</ref>