The First World War holds the distinction of being America's most popular conflict while it lasted, and the most hated as soon as it was over. Today it is remembered as the war that gave insanity a bad name, but also as a horror that shaped the course of twentieth-century politics and culture. From the start, movies were responsible for many of its most durable images, less interested in its origins than in its effects on the home front and, above all, on the soldiers who fought. Our series brings together a selection of the shorts, cartoons, and features that span the fifty years separating the Great War from the Cold War to suggest the range of responses to the conflict and its aftermath. The war was used to help interpret the Russian Revolution, the Great Depression, France's Popular Front, and America's Cold War. But in the hands of Dovzhenko, Milestone, Renoir, and Kubrick, the narratives are always deeper and more complex than you might expect. And even the propaganda pieces made during the war, including Chaplin's, Winsor McCay's, and Griffith's are haunting in their ability to defy the stereotypes associated with “The War to End All Wars.”