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The Submarine film is a subgenre of war film in which the majority of the plot revolves around a submarine below the ocean's surface. Films of this subgenre typically focus on a small but determined crew of submariners battling against enemy submarines or submarine-hunter ships, or against other problems ranging from disputes amongst the crew, threats of mutiny, life-threatening mechanical breakdowns, or the daily difficulties of living on a submarine. The genre plays on the psychological tension of the submarine's crew and their unseen enemy, signified by a soundscape that may feature explosions, the ping of sonar, the creaking of the submarine's hull under extreme pressure, the alarm ordering the submarine to dive, and the threatening sound signatures of a destroyer's propellor or of an approaching torpedo. Some 150 films have been made in the submarine genre between 1910 and 2010, variously depicting submarines in relatively realistic stories about World War I, World War II or the Cold War, or purely fictional and fantastic scenarios. ==Characteristics== Submarine films have their own particular semantics and syntax, creating a film genre concerned specifically with submarine warfare. A distinctive element in this genre is the soundtrack, which attempts to bring home the emotional and dramatic nature of conflict under the sea. For example in the 1981 ''Das Boot'', the sound design works together with the hours-long film format to depict lengthy pursuit with depth charges, and as the critic Linda Maria Koldau writes, Koldau identifies the basic syntactic structure of the submarine genre as "outside is bad, inside is good."〔 The unseen outside means the enemy: this may be from nature, with elements such as water pressure threatening to crush the hull, sea monsters, or underwater rocks; or human opponents. Meanwhile, the inside of the submarine represents the human warmth and trust of the crew for each other and for their captain, their lives bound together by the situation.〔 To this scenario can be added elements from within such as mutiny, fire, or accident; and from outside such as water, terrorism, disease, and weapons, while the plot may feature sudden switches from being the hunter to being the hunted.〔 The soundscape may depict the creaking of the hull under pressure: as Koldau observes, this is both realistic and metaphoric, standing in for the fear and the responsibility on the shoulders of the crew.〔 Stress may further be expressed in the acoustic signature of specifically submarine threats, such as the swelling sound of an approaching destroyer's propellor, the soft buzz of an enemy torpedo, or the submarine's own alarm ordering an immediate dive.〔 Another element of the soundscape less often remarked upon is simply silence, which can mean both safety (nothing is happening) and unseen danger, creating tension.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「submarine films」の詳細全文を読む スポンサード リンク
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