of the 19th century were called war films in the time before the First World War. The critic Julian Smith argues, on the contrary, that the war film lacks the formal boundaries of a genre like the Western, but that in practice, "successful and influential" war films are about modern wars, in particular World War II, with the combination of mobile forces and mass killing. The film scholar Kathryn Kane points out some similarities between the war film genre and the Western. Both genres use opposing concepts like war and peace, civilization and savagery. War films usually frame World War II as a conflict between "good" and "evil" as represented by the Allied forces and Nazi Germany whereas the Western portrays the conflict between civilized settlers and the savage indigenous peoples. James Clarke notes the similarity between a Western like Sam Peckinpah's The Wild Bunch and "war-movie escapades" like The Dirty Dozen. The film historian Jeanine Basinger states that she began with a preconception of what the war film genre would be, namely that: Further, Basinger considers Bataan to provide a definition-by-example of "the World War II combat film", in which a diverse and apparently unsuited group of "hastily assembled volunteers" hold off a much larger group of the enemy through their "bravery and tenacity". She argues that the combat film is not a subgenre but the only genuine kind of war film. Since she notes that there were in fact only five true combat films made during the Second World War, in her view these few films, central to the genre, are outweighed by the many other films that are only just war films. However, other critics such as Russell Earl Shain propose a far broader definition of war film, to include films that deal "with the roles of civilians, espionage agents, and soldiers in any of the aspects of war (i.e. preparation, cause, prevention, conduct, daily life, and consequences or aftermath.)" Neale points out that genres overlap, with combat scenes for different purposes in other types of film, and suggests that war films are characterised by combat which "determines the fate of the principal characters". This in turn pushes combat scenes to the climactic ends of war films. Not all critics agree, either, that war films must be about 20th-century wars. James Clarke includes Edward Zwick's Oscar-winning Glory (1990) among the war films he discusses in detail; it