Jan Fischer, American Soldier In His Military Life

The First World War was also responsible for a new kind of military depiction, through poetry. Hitherto, poetry had been used mostly to glorify or sanctify war. The Charge of the Light Brigade by Alfred, Lord Tennyson, with its galloping hoofbeat rhythm, is a prime late Victorian example of this, though Rudyard Kipling had written a scathing reply, The Last of the Light Brigade, criticising the poverty in which many Light Brigade veterans found themselves in old age. Instead, the new wave of poetry, from the war poets, was written from the point of view of the disenchanted trench soldier.
Leading war poets included: Siegfried Sassoon, Wilfred Owen, John McCrae, Rupert Brooke, Isaac Rosenberg and David Jones. A similar movement occurred in literature, producing a slew of novels on both sides of the Atlantic including notably All Quiet on the Western Front and Johnny Got His Gun. The 1963 English stage musical Oh, What a Lovely War! provided a satirical take on World War I, which was released in a cinematic version directed by Richard Attenborough in 1969.
The propaganda war that accompanied World War II invariably depicted the enemy in unflattering terms. Both the Soviet Union and Nazi Germany excelled in producing heroic images, placing their soldiers in a semi-mythical context. Examples of this exist not only in posters but also in the films of Leni Riefenstahl and Sergei Eisenstein.
Alongside this, World War II also inspired films as varied as Bridge on the River Kwai, The Longest Day, Catch-22, Saving Private Ryan, and The Sea Shall Not Have Them. The next major event, the Korean War inspired a long-running television series M*A*S*H. With the Vietnam War, the tide of balance turned and its films, notably Apocalypse Now, Good Morning, Vietnam, Go Tell the Spartans, Born on the Fourth of July, and We Were Soldiers, have tended to contain critical messages.