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Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Between 'Information' and 'Inspiration' Frame, Gregory the Routledge
Between 'Information' and 'Inspiration' ANGOR UNIVERSITY Frame, Gregory The Routledge Companion to Cinema and Politics PRIFYSGOL BANGOR / B Published: 30/06/2016 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Frame, G. (2016). Between 'Information' and 'Inspiration': the Office of War Information, Frank Capra's Why We Fight series, and US World War II propaganda. In Y. Tzioumakis, & C. Molloy (Eds.), The Routledge Companion to Cinema and Politics (pp. 151-160). Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 25. Sep. 2021 Between “Information” and “Inspiration”: The Office of War Information, Frank Capra’s Why We Fight series and US World War II Propaganda Gregory Frame While there is little debate that the United States required propaganda films as part of its war effort in order to combat the masterful and dangerous concoctions of the Axis powers and to inspire its people for a war of unprecedented ferocity against an unrelenting and vicious enemy, how these films should be constituted, and by whom, was a matter of significant debate and disagreement. -
Iraq War Documentaries in the Online Public Sphere
Embedded Online: Iraq War Documentaries in the Online Public Sphere Eileen Culloty, MA This thesis is submitted to Dublin City University for the award of PhD in the Faculty of Humanities and Social Sciences. Dublin City University School of Communications Supervisor: Dr. Pat Brereton September 2014 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________ ID No.: ___________ Date: _________ ii DEDICATION This work is dedicated to the memory of Martin Culloty. … I go back beyond the old man Mind and body broken To find the unbroken man. It is the moment before the dance begins. Your lips are enjoying themselves Whistling an air. Whatever happens or cannot happen In the time I have to spare I see you dancing father Brendan Kennelly (1990) ‘I See You Dancing Father’ iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................ vii LIST OF FIGURES ................................................................................................................ viii ABBREVIATIONS ................................................................................................................... -
World War Ii and Us Cinema
ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances. -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z FEBRUARY 2021 D 12 Angry Men (1957) 2/27 D Black Panthers (1968) 2/28 D Convicts 4 (1962) 2/10 a ADVENTURE z 20,000 Years in Sing Sing (1932) 2/3 D Black Patch (1957) 2/19 D The Corn is Green (1945) 2/21 m 42nd Street (1933) 2/7 D Blackboard Jungle (1955) 2/3 sD The Cossacks (1928) 2/21 c COMEDY S z Blackwell’s Island (1939) 2/3 D Countryman (1982) 2/21 –––––––––––––––––––––– ––––––––––––––––––––––– A y Blazing Saddles (1974) 2/6 u Crossfire (1947) 2/9 z CRIME u Act of Violence (1949) 2/9 y Blood on the Moon (1948) 2/19 R Crossing Delancey (1988) 2/12 S c Adam’s Rib (1949) 2/22 D Body and Soul (1947) 2/9 D Cry, the Beloved Country (1951) 2/3 o DOCUMENTARY a The Adventures of Huckleberry Finn (1939) 2/10 D Bombshell (1933) 2/21 c The Affairs of Martha (1942) 2/24 a Boom Town (1940) 2/25 P –––––––––––––––––––––– D ––––––––––––––––––––––– D DRAMA c Affectionately Yours (1941) 2/10 D Born to Be Bad (1950) 2/9 y Dances with Wolves (1990) 2/27 u After Office Hours (1935) 2/1 c Born Yesterday (1950) 2/21 D Dancing Co-Ed (1939) 2/8 e EPIC P R The Age of Innocence (1993) 2/14 c Boys’ Night Out (1962) 2/11 D Dangerously They Live (1941) 2/23 S S S w Air Force (1943) 2/23 D The Breaking Point (1950) 2/9 R Daughters Courageous (1939) 2/16 S HORROR/SCIENCE-FICTION z Al Capone (1959) 2/16 R Brief Encounter (1945) 2/12 D Days of Wine and Roses (1962) 2/28 P m sc Algie the Miner (1912) 2/7 m Brigadoon (1954) 2/18, 2/25 D Death in Venice (1971) 2/23 MUSICAL y Along The Great Divide (1951) 2/19 D Broadway Musketeers (1938) 2/6 cR Design for Living (1933) 2/21 R ROMANCE HD The Amazing Mr. -
Changing Attitudes Toward War and Women in Twentieth Century Film
Changing Attitudes Toward War and Women in Twentieth Century Film Mary Ann T. Natunewicz INTRODUCTION This unit has been written for use in two eleventh grade United States History courses. One course covers the period from 1865 to the present, while the second course, an Advanced Placement program, begins at the period of colonization. This unit will be used over a semester in sections that deal with World Wars I and II, the Korean Conflict, the Vietnam War, and the Gulf War. Most of the curriculum here could also be adapted for ninth grade courses. Each section of the lesson plans is designed for one or two 45- minute periods. The school in which this will be taught is an urban high school with 2500 students, a significant number of whom are refugees who have had first hand experience with war. Students who are still learning English will find films that use dialects and non-standard English especially challenging. PURPOSE AND OBJECTIVES OF UNIT It is the purpose of this unit to show students that war films do more than tell stories and provide catharses for viewers. Each film also conveys the social values and the mores of the period in which it was produced and addresses attitudes not only toward war, but also toward topics closely associated with war, such as the morality of fighting, the causes for which it is moral and just to fight, the definition of heroism and the responsibility of the individual to exhibit ethical behavior. Frequently, the causes worth fighting for are such things as political systems, home and family. -
War Comes to America
Video Transcript for Archival Research Catalog (ARC) Identifier 36073 War Comes to America Text: This film has been compiled from authentic newsreel, official United Nation, and captured enemy film. Use has been made of certain motion pictures with historical backgrounds. When necessary, for purposes of clarity, a few reenactments have been made under War Department Supervision. Children: I pledge allegiance to the flag of the United States of America, and to the republic for which it stands, one nation, indivisible, with liberty and justice for all. Narrator: In the jungles of New Guinea, on the barren shores of the Aleutians, in the tropic heat of the Pacific Islands, in the subzero cold of the skies over Germany, in Burma and Iceland, the Philippines and Iran, France, in China and Italy, Americans fighting. Fighting over an area extending seven-eighths of the way around the world. Men from the green hills of New England; the sun-baked plains of the Middle West; the cotton fields of the South; the close-packed streets of Manhattan, Chicago; the teeming factories of Detroit, Los Angeles; the endless stretching distances of the Southwest; men from the hills and from the plains; from the villages and from the cities; bookkeepers; soda jerks; mechanics; college students; rich man; poor man; beggar man; thief; doctor; lawyer; merchant; chief. Now veteran fighting men. Yet two years ago many had never fired a gun or seen the ocean or been off the ground. Americans, fighting for their country while half a world away from it. Fighting for their country, and for more than their country. -
Akron1185381373.Pdf (1.49
© 2007 DAVID ZIETSMA ALL RIGHTS RESERVED IMAGINING HEAVEN AND HELL: RELIGION, NATIONAL IDENTITY, AND U.S. FOREIGN RELATIONS, 1930-1953 A Dissertation Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy David Zietsma August, 2007 IMAGINING HEAVEN AND HELL: RELIGION, NATIONAL IDENTITY, AND U.S. FOREIGN RELATIONS, 1930-1953 David Zietsma Dissertation Approved: Accepted: _____________________________ _____________________________ Advisor Department Chair Dr. Walter L. Hixson Dr. Walter L. Hixson _____________________________ _____________________________ Committee Member Dean of the College Dr. T. J. Boisseau Dr. Ronald F. Levant _____________________________ _____________________________ Committee Member Dean of the Graduate School Dr. Mary Ann Heiss Dr. George R. Newkome _____________________________ _____________________________ Committee Member Date Dr. Brant T. Lee _____________________________ Committee Member Dr. Elizabeth Mancke ii ABSTRACT This dissertation argues that religiously framed narratives of national identity conditioned the United States approach to the world from 1930 to 1953. When the Great Depression called into question U.S. manifest destiny, Americans reified their divine chosenness first through a “good neighbor” national image and later through a narrative imagining the United States as a righteous nation battling evil enemies. During the Franklin Roosevelt and Harry Truman administrations, competing religious groups/organizations -
Changing Representations of the Second World War: Why We Fight, Victory at Sea, and the World at War
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2021 Changing Representations of the Second World War: Why We Fight, Victory at Sea, and The World at War Maiah Vorce University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/honors Part of the United States History Commons Recommended Citation Vorce, Maiah, "Changing Representations of the Second World War: Why We Fight, Victory at Sea, and The World at War" (2021). Honors Theses and Capstones. 572. https://scholars.unh.edu/honors/572 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Changing Representations of the Second World War: Why We Fight, Victory at Sea, and The World at War Maiah Vorce Defense: May 11, 2021 Committee Professor Marion Dorsey Professor Lucy Salyer Professor Kurk Dorsey Vorce 1 TABLE OF CONTENTS Page Acknowledgements......................................................................................................................2 Introduction..................................................................................................................................3 Chapter One: The Fanatical Axis.................................................................................................17 -
September 24, 2013 (XXVII:5) Delmer Daves, 3:10 to YUMA (1957, 92 Min)
September 24, 2013 (XXVII:5) Delmer Daves, 3:10 TO YUMA (1957, 92 min) National Film Registry—2012 Directed by Delmer Daves Written by Halsted Welles (screenplay) and Elmore Leonard (story) Music by George Duning Cinematography by Charles Lawton Jr. Edited by Al Clark Glenn Ford...Ben Wade Van Heflin...Dan Evans Felicia Farr...Emmy Richard Jaeckel...Charlie Prince DELMER DAVES (director)(b. Delmer Lawrence Daves, July 24, 1904, San Francisco, California—d. August 17, 1977, La Jolla, California) Daves wrote 50 films, among them 1965 The Battle of the Villa Fiorita, 1964 Youngblood Hawke, 1963 Spencer's Alma, Michigan—d. January 24, 1990) wrote 44 films and Mountain, 1959 A Summer Place, 1957 An Affair to Remember television shows, including 1976 “Doctors' Hospital” (TV (screenplay), 1956 The Last Wagon (screenplay), 1955 White series), 1973-1974 “Kojak” (TV series), 1971-1973 “Rod Feather (screenplay), 1954 Drum Beat (screenplay and story), Serling's Night Gallery” (TV series), 1969 “Mannix” (TV series), 1947 Dark Passage (screenplay), 1943 Destination Tokyo 1966 “12 O'Clock High” (TV series), 1965-1966 “The (screenplay), 1943 Stage Door Canteen (screenplay), 1940 The Virginian” (TV series), 1959-1962 “Alfred Hitchcock Presents” Farmer's Daughter (story), 1936 The Petrified Forest (TV series), 1960 “Bonanza” (TV series), 1957 3:10 to Yuma (screenplay), 1932 Divorce in the Family (screenplay and story), (screenplay), 1957 “The George Sanders Mystery Theater” (TV and 1929 Queen Kelly. In addition to writing, Daves directed 30 series), 1957 “Playhouse 90” (TV series), 1955 “Lux Video films, including 1965 The Battle of the Villa Fiorita, 1964 Theatre” (TV series), and 1949 The Lady Gambles (adaptation). -
History Department Video Catalog
1 HISTORY DEPARTMENT VIDEO CATALOG A ADVENTURES OF THE VIKINGS / 1996, 83 Minutes, 1 Videocassette. Covers the 300 year period commonly called the "Viking Era." Discusses the journeys of the Norwegians, Danes, and Swedes. Special attention given to the Viking discovery of North America. AFRICA Course: 1111, 1112, 1140, 4750, 4760, 4770, 4774 Basil Davidson series, 8 parts; 60 min. each) shelved by series; 2 parts per video; Filmed on various locations all over Africa, showing life as it is today, plus archival film and dramatized reconstruction of earlier times. Produced in England, in association with Nigerian Television. "Basil Davidson is one of the major world authorities on African history, and this series is very well done. In some places he is presenting personal interpretations for which there is not as yet a scholarly consensus. He is generally sympathetic to African reinterpretations of world history." ‐‐ Reid Part 1: "Different but Equal." Davidson goes back to Africa's origins to show that, far from having no great art or technology, Africa gave rise to some of the world's greatest early civilizations. Part 2: "Mastering a Continent." Looking closely at three different communities, this program examines the way African peoples carve out an existence in an often hostile environment. Two very different farming villages show how, in Africa, spiritual development goes hand in hand with technological advance. Part 3: "Caravans of Gold." Davidson traces the routes of the medieval gold trade, which reached from Africa to India and China in the east and westward to the city‐states of Italy. African rulers grew rich and powerful ‐ the King of Ghana was described by an Arab traveler in 951 as the wealthiest of all kings on earth. -
One Woman's Journey to the Codebreaking Victory Over Japan
United States Cryptologic History ANNNN’S WAARR OOnene WWoman’soman’s JJourneyourney ttoo tthehe CCodebreakingodebreaking VVictoryictory overover JapanJapan Special series | Volume 13 | 2019 Center for Cryptologic History David Sherman was head of the Strategy, Plans, and Policy organization for the National Security Agency before his retirement in 2017. For their assistance in locating material relevant to the preparation of this monograph, the author expresses his appreciation to Kelly Grant of the Sage Colleges Archives and Special Collections; Eloise Morgan, village historian, Bronxville, New York; Rene Stein, former librarian, National Cryptologic Museum; and Sarah Parsons and Betsy Rohaly Smoot of NSA’s Center for Cryptologic History. This publication presents a historical perspective for informational and educational purposes, is the result of independent research, and does not necessarily reflect a position of NSA/CSS or any other US government entity. This publication is distributed free by the National Security Agency. If you would like additional copies, please email [email protected] or write to: Center for Cryptologic History National Security Agency 9800 Savage Road, Suite 6886 Fort George G. Meade, MD 20755 UNITED STATES CRYPTOLOGIC HISTORY ANN’S WAR One Woman’s Journey to the Codebreaking Victory over Japan David Sherman National Security Agency Center for Cryptologic History 2019 CONTENTS Foreword ........................................................................... iii Introduction........................................................................ 1 Chapter 1. Childhood in Suburban New York ................................. 3 Chapter 2. College Years at Russell Sage ...................................... 7 Chapter 3. War Comes to America … and to Russell Sage .................. 11 Chapter 4. On to Washington ................................................... 13 Chapter 5. A Codebreaker in Training .......................................... 17 Chapter 6. Getting Down to Work ..............................................19 Chapter 7.