A PRoVocATiVe PReSence
1. Picture Show, 24 October 1953, 15. WRAF stands for Women’s Royal Air Force.
2. Doherty, Projections of War, 159.
3. Meyer, Creating Gi Jane, 3.
4. Ibid., 86–87.
5. See H. Patricia Hynes, “On the Battleﬁeld of Women’s Bodies: An Overview of
the Harm of War to Women,” Women’s Studies International Forum 27 (2004),
6. Meyer, Creating Gi Jane, 20. Meyer makes reference in this context to John
Costello’s study, Love, Sex and War. Signiﬁcantly, in terms of a contemporary
repertoire of images of military women, Costello also refers to an interest in
Russian women as soldiers (61). In Britain, too, Soviet women were an object of
some fascination, as seen in the ﬁlm Tawny Pipit (1944), which features a visit-
7. “British Women at War,” Life, 4 August 1941, 70.
8. Lant, Blackout, 86.
9. Solms, “Duty, Honor, Country,” 27.
10. Suid, Guts and Glory, 218.
11. Suid cites John Wayne’s apparent discontent with the female character intro-
duced, at the studio’s insistence, into The Fighting Seabees: “For Wayne, the
addition to the script ‘took all the reality out of the picture. They really had a
ﬁne picture, kind of a lost patrol story to begin with. But it just ended up the
usual type of ﬁlm’” (ibid., 219).
12. The most sustained discussion of the genre is oﬀered by Jeanine Basinger in The
World War II Combat Film. Basinger explores in some detail the various hybrid
forms of the combat ﬁlm, including the musical and the women’s picture.
13. Enloe, Does Khaki Become You?, xvii.