notes
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),
431–45.
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-
ing sniper.
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.
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