World War II
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Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
The World at War: the Second World
Towards World War II: International Relations 1931-1939 I. Fascist Aggression in Asia, Africa and Europe II. The Policy of Appeasement III. Blitzkrieg: Europe at War (1939) Fascism and the European Balance of Power • 1931-1939-Fascist powers expand and challenge traditional balance of world power • Fascism inherently militaristic, expansionist and imperial. • 1931-Japan invades Manchuria. • 1935-Italy invades Ethiopia. • 1935-39-Germany expands in central Europe. • 1936-Spanish Civil War-Fascists (Nationalist) fight socialists (Republicans) in Spain. Japanese Occupation of China Execution of Chinese soldiers and civilians Japan and World War II • 1905 victory over Russians and part of allied victory in WWI. • Authoritarian, militaristic government in power. • Invades Manchuria and China in 1931 and occupies it until 1945. • Attacks U.S. at Pearl Harbor in 1941 due to oil embargo and U.S. naval power in Pacific. Map of China Under Japanese Occupation Anti-Fascist Propaganda During Spanish Civil War (1936) Fascist Spain Nazi Ideology and Foreign Policy • Ideology determines foreign policy. • Ethnic Fundamentalism. • Reclaim the “German East”- (Nazi Germany). • Ethnic Germany and Ethnic Germans living in the east. Definition: Anschluss The conquest of German speaking territories by Nazi Germany Racial Map of Europe, 1923 Europe in 1919 The Anschluss • March, 1936: Annexation of the Rhineland • March 1938: Annexation of Austria • September, 1938: Conference in Munich between Hitler and Allies Hitler and Chamberlain at the Munich Conference, 1938 The Policy of Appeasement 1. Many believed Hitler’s claims were justified after Versailles. 2. Europeans feared another war after WWI. 3. Capitalist nations feared that war would unleash communist revolutions. -
Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. -
Richard Rodgers Victory at Sea Vol. 2 Mp3, Flac, Wma
Richard Rodgers Victory At Sea Vol. 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: Victory At Sea Vol. 2 Country: US Released: 1960 Style: Score MP3 version RAR size: 1932 mb FLAC version RAR size: 1251 mb WMA version RAR size: 1653 mb Rating: 4.7 Votes: 909 Other Formats: VQF DMF AAC MP3 VOC MP1 ADX Tracklist A1 Fire On The Waters A2 Danger Down Deep A3 Mediterranean Mosaic A4 The Magnetic North B1 Allies On The March B2 Voyage Into Fate B3 Peleliu B4 The Sound Of Victory Companies, etc. Record Company – Radio Corporation Of America Pressed By – RCA Records Pressing Plant, Indianapolis Credits Arranged By – Robert Russell Bennett Conductor – Robert Russell Bennett Liner Notes – Richard Hanser Orchestra – RCA Victor Symphony Orchestra Painting – Victor Kalin Notes This reissue version is on a label style that ran 1955-60. Often referred to as the "shaded dog" label that has a full color image of "Nipper" at the top. The rim text includes "- Camden, N.J. -" that was removed in 1960. This version is not a gatefold. Label has LSC 2226. Cover has LSC-2226 on the front and spine and LSC-2226 RE on the back. Suite from the score composed by Richard Rodgers for the NBC Television Production Robert Russell Bennett conducting the RCA Victor Symphony Orchestra The liner notes by Richard Hanser are noted with: "© by Radio Corporation of America, 1960". Barcode and Other Identifiers Matrix / Runout (Label matrix side A): J2RY-3630 Matrix / Runout (Label matrix side B): J2RY-3631 Matrix / Runout (Run-out side A / stamped): J2 RY-360-14S ɪ B2 Matrix / Runout (Run-out side B / stamped): J2 RY-361-3S C2 ɪ Other versions Category Artist Title (Format) Label Category Country Year Richard Rodgers, Robert RCA Richard Rodgers, Russell Bennett - Victory Victor LSC-2226 Robert Russell LSC-2226 US 1958 At Sea Vol. -
The Axis Advances
wh07_te_ch17_s02_MOD_s.fm Page 568 Monday, March 12, 2007 2:32WH07MOD_se_CH17_s02_s.fm PM Page 568 Monday, January 29, 2007 6:01 PM Step-by-Step German fighter plane SECTION Instruction 2 WITNESS HISTORY AUDIO Objectives Janina’s War Story As you teach this section, keep students “ It was 10:30 in the morning and I was helping my focused on the following objectives to help mother and a servant girl with bags and baskets as them answer the Section Focus Question they set out for the market. Suddenly the high- and master core content. pitch scream of diving planes caused everyone to 2 freeze. Countless explosions shook our house ■ Describe how the Axis powers came to followed by the rat-tat-tat of strafing machine control much of Europe, but failed to guns. We could only stare at each other in horror. conquer Britain. Later reports would confirm that several German Janina Sulkowska in ■ Summarize Germany’s invasion of the the early 1930s Stukas had screamed out of a blue sky and . Soviet Union. dropped several bombs along the main street— and then returned to strafe the market. The carnage ■ Understand the horror of the genocide was terrible. the Nazis committed. —Janina Sulkowska,” Krzemieniec, Poland, ■ Describe the role of the United States September 12, 1939 before and after joining World War II. Focus Question Which regions were attacked and occupied by the Axis powers, and what was life like under their occupation? Prepare to Read The Axis Advances Build Background Knowledge L3 Objectives Diplomacy and compromise had not satisfied the Axis powers’ Remind students that the German attack • Describe how the Axis powers came to control hunger for empire. -
From Glory to Destruction: John Huston's Non-Fictional Depictions of War
RSA Journal 13 5 FEDERICO SINISCALCO From Glory to Destruction: John Huston's Non-fictional Depictions of War During the second World War John Huston became involved, together with other famous Hollywood filmmakers, in the U.S. Government propa ganda film production. This paper argues that whereas Report from the Aleutians, Huston's first war documentary, may be incorporated within the propaganda genre, and depicts war as an instance where men may aspire to glory, his second non-fiction film, San Pietro, breaks free of this label and takes a clear, autonomous stand on the ultimate tragedy of war, and on the destruction which it brings about. John Huston established his reputation as an important Hollywood personality in 1941 following his debut as a film director with the now clas sic Maltese Falcon. The following year, as the United States became more engaged in the world conflict, he joined the Signal Corps, a body ofthe U.S. Army specialized in film and photographic documentation ofwar. In his au tobiography, written several years later, Huston admitted that he did not pay much attention to the enlisting papers given to him by his friend Sy Bartlett. Therefore, when the call came from the Army to report to duty he was rather surprised (Huston 111-2). At the time Huston was a 37-year old man with a promising career in front of him. Busily working on his next film, Across the Pacific, a sequel of sorts to the successful Maltese Falcon, the prospect of direct involvement in the war must have seemed quite foreign to him. -
Conquering the Night Army Air Forces Night Fighters at War
The U.S. Army Air Forces in World War II Conquering the Night Army Air Forces Night Fighters at War PRINTER: strip in FIGURE NUMBER A-1 Shoot at 277% bleed all sides Stephen L. McFarland A Douglas P–70 takes off for a night fighter training mission, silhouetted by the setting Florida sun. 2 The U.S. Army Air Forces in World War II Conquering the Night Army Air Forces Night Fighters at War Stephen L. McFarland AIR FORCE HISTORY AND MUSEUMS PROGRAM 1998 Conquering the Night Army Air Forces Night Fighters at War The author traces the AAF’s development of aerial night fighting, in- cluding technology, training, and tactical operations in the North African, European, Pacific, and Asian theaters of war. In this effort the United States never wanted for recruits in what was, from start to finish, an all-volunteer night fighting force. Cut short the night; use some of it for the day’s business. — Seneca For combatants, a constant in warfare through the ages has been the sanctuary of night, a refuge from the terror of the day’s armed struggle. On the other hand, darkness has offered protection for operations made too dangerous by daylight. Combat has also extended into the twilight as day has seemed to provide too little time for the destruction demanded in modern mass warfare. In World War II the United States Army Air Forces (AAF) flew night- time missions to counter enemy activities under cover of darkness. Allied air forces had established air superiority over the battlefield and behind their own lines, and so Axis air forces had to exploit the night’s protection for their attacks on Allied installations. -
66-3392 KOGINOS, Emmanuel Theodore, 1933— the PANAY INCIDENT: PRELUDE to WAR. the American University, Ph.D„ 1966 History
66-3392 KOGINOS, Emmanuel Theodore, 1933— THE PANAY INCIDENT: PRELUDE TO WAR. The American University, Ph.D„ 1966 History, modern Please note: Author also indicates first name as Manny on the title page. University Microfilms, Inc., Ann Arbor, Michigan Copyright by EMMANUEL THEODORE KOGINOS 1966 THE PANAY INCIDENT: PRELUDE TO WAR by y $anny)T^Koginos Submitted to the Faculty of the Graduate School of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History Signatures of Committee: f A Vk 0 Chairman: O* lOctMr**- /~) y\ 7 ■ * Graduate Dean: Date: 2 7./9CS- Thewf^Mna?nnUnnVerSity AMERICAN UNIVERSITY Washington, D. C. LIBRARY ffOV 8 1965 WASHINGTON. D.C. TABLE OF CONTENTS PREFACE i CHAPTER Page I. Diplomatic Background .......... 1 II. The Crisis ............. hi III. The Settlement ........ 101 IV. The Ludlow Referendum............ 150 V. Naval Expansion ............. 190 VI. Conclusion........................... 2k2 BIBLIOGRAPHY....................... ....250 APPENDICES ........................................ 267 PREFACE The Panav incident in retrospect was the most dramatic single event in Japanese-American relations during the 1930's. i-.-. The attack upon the American gunboat in December, 1937 by Japanese forces contributed greatly to the general deterior ation and eventual breakdown in American-Japanese diplomatic relations. Though the immediate impact of the incident did not result in any radical departure from America's isola tionist position, it did modify American opinion in respect to foreign and domestic affairs. Indeed, pacifist influ ence was to reach its highest crest during the Panav epi sode. At the same time, the crisis vividly dramatized America's unwillingness to pursue a more positive policy in the Far East. -
Remembering World War Ii in the Late 1990S
REMEMBERING WORLD WAR II IN THE LATE 1990S: A CASE OF PROSTHETIC MEMORY By JONATHAN MONROE BULLINGER A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Communication, Information, and Library Studies Written under the direction of Dr. Susan Keith and approved by Dr. Melissa Aronczyk ________________________________________ Dr. Jack Bratich _____________________________________________ Dr. Susan Keith ______________________________________________ Dr. Yael Zerubavel ___________________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Remembering World War II in the Late 1990s: A Case of Prosthetic Memory JONATHAN MONROE BULLINGER Dissertation Director: Dr. Susan Keith This dissertation analyzes the late 1990s US remembrance of World War II utilizing Alison Landsberg’s (2004) concept of prosthetic memory. Building upon previous scholarship regarding World War II and memory (Beidler, 1998; Wood, 2006; Bodnar, 2010; Ramsay, 2015), this dissertation analyzes key works including Saving Private Ryan (1998), The Greatest Generation (1998), The Thin Red Line (1998), Medal of Honor (1999), Band of Brothers (2001), Call of Duty (2003), and The Pacific (2010) in order to better understand the version of World War II promulgated by Stephen E. Ambrose, Tom Brokaw, Steven Spielberg, and Tom Hanks. Arguing that this time period and its World War II representations -
I Stick My Neck out for Nobody
Excerpted from We’ll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood’s Most Beloved Movie by Noah Isenberg. Copyright © 2017 by Noah Isenberg. With permission of the publisher, W. W. Norton & Company, Inc. All rights reserved. Chapter 3 I Stick My Neck Out for Nobody Propertyuring of the W. 1930s, W. and intoNorton the early ’40s,& Company as the Great D Depression continued to cast its long shadow and dis- tressing memories of the Great War were still fresh in the minds of most Americans, politicians and the public at large were disinclined to meddle with the political affairs of Europe. Even after Hitler’s stunning ascent in Germany in January 1933, and the gradual rise of fascism in Italy, Americans showed little interest in waging an opposition. Hollywood, for its part, was no exception. Most studios, still reliant on sig- nificant revenue streams from the European export market, which into the mid-1930s constituted 30 to 40 percent of its box-office profits, fiercely avoided subjects that could be- con strued as offensive or insensitive. A typical attitude, voiced by M-G-M producer Irving Thalberg after returning from a trip to Germany in 1934, was “Hitler and Hitlerism will pass.” The 85 WellAlwaysHaveCasablanca_txt_final.indd 85 11/10/16 2:14 PM We’ll Always Have Casablanca imposition of the anti-Jewish Nuremberg Laws in 1935 didn’t stop most studios from continuing to retain cordial business ties with Nazi Germany, nor did the ruthless expansion of the Third Reich. “Fascism tipped the European applecart,” wrote journalist Helen Zigmond in a sobering report from December 1938, several months after the Anschluss and just weeks after the violent pogroms of Kristallnacht, “and Hollywood, instead of crying out against the bunglers, still scrambles for the fruit.” Although not without fault, Warner Bros. -
Literatur Und Quellenangaben
Literatur und Quellenangaben Literatur Adair, Gilbert 1989: Hollywood’s Vietnam: From the Green Berets to Full Metal Jacket. Lon- don: Heinemann. Adams, Michael C. C. 1994: The Best War Ever. America and WWII. Maryland: John Hopkins University Press. Affron, Charles 1982: Reading the Fiction of Nonfiction: William Wylers Memphis Belle. In: Quaterly Review of Film Studies 7/1982, S. 53-60. Albrecht, Gerd 1969: Nationalsozialistische Filmpolitik. Eine soziologische Untersuchung über die Spielfilme des Dritten Reiches. Stuttgart: Ferdinand Enke. Aldana Reyes, Xavier 2013: Violence and Mediation: The Ethics of Spectatorship in the Twenty-First Century Horror Film. In: Matthews, Graham; Goodman, Sam (Hrsg.): Violence and the Limits of Representation. London, New York: Palgrave Macmillan. Alexandre, Marianne; Sinclair, Andrew 1968: La Grande Illusion. London: St James. Alison, Landsberg 2004: Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York, Chichester: Columbia University Press. Alter, Jonathan 2003: In Bed with the Pentagon. In: News Week 10.3.2003, S. 45. Altman, Rick 1995: A Semantic/Syntactic Approach to Film Genre. In: Grant, Barry Keith (Hrsg.): Film Genre Reader II. Austin: University of Texas Press, S.26-40. Aly, Götz 2005: Hitlers Volkstaat. Raub, Rassenkrieg und nationaler Sozialismus. Frankfurt am Main: Fischer. Andén-Papadopoulos, Kari 2009a: Body horror on the internet: U.S. soldiers recording the war in Iraq and Afghanistan. In: Media, Culture and Society, Vol. 31 (6), S. 921-938. Andén-Papadopoulos, Kari 2009b: US soldiers imaging the Iraq War on YouTube. In: Popular Communication, Vol. 7, Issue 1, S. 17-27. Anderegg, Michael 1991a: Introduction. In: Anderegg, Michael (Hrsg.): Inventing Vietnam: The War in Film and Television. -
Morrie Gelman Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/c8959p15 No online items Morrie Gelman papers, ca. 1970s-ca. 1996 Finding aid prepared by Jennie Myers, Sarah Sherman, and Norma Vega with assistance from Julie Graham, 2005-2006; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2016 The Regents of the University of California. All rights reserved. Morrie Gelman papers, ca. PASC 292 1 1970s-ca. 1996 Title: Morrie Gelman papers Collection number: PASC 292 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 80.0 linear ft.(173 boxes and 2 flat boxes ) Date (inclusive): ca. 1970s-ca. 1996 Abstract: Morrie Gelman worked as a reporter and editor for over 40 years for companies including the Brooklyn Eagle, New York Post, Newsday, Broadcasting (now Broadcasting & Cable) magazine, Madison Avenue, Advertising Age, Electronic Media (now TV Week), and Daily Variety. The collection consists of writings, research files, and promotional and publicity material related to Gelman's career. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Creator: Gelman, Morrie Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs.