ued emphasizing themes of personal growth and unity rather than dealing with the actual problems of warfare and violence in and of themselves.
In the early 1960s, Paul Goodman proposed a solution to this problem with his ideas on designing a "pacifist film." Goodman indicated that, rather than glorifying the violence of warfare, true anti-war films should provide an artistic "purge" of such violence (197-98). A true "pacifist film," according to Goodman, should show the individual and social neuroses involved in warfare, while at the same time showing a withdrawal from the "causes of war spirit" (198). Such an approach to the anti-war film is not suitable, however, because it is impossible to realistically deal with the horrors of war while at the same time trying to avoid them. Although a pacifist film as described by Goodman is worthy of production for its own sake, it cannot be defined as an anti-war film per se. A true anti-war film must be entertaining as well as educational if its message is to reach its intended audience. In addition,
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