La Bandiera Della Marina Militare Anno LXI N
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Fools and Crazy Men
Fools and Crazy Men Outline I. Beginnings A. Between 1600 & 1900 130 known design proposals - Cornelius Drebble probably built first one about 1620 based on a 1578 design by William Bourne (both English) - Early ideas were all semi-submersible rowboats - Coastal defense? Certainly, a weapon. B. Bushnell’s TURTLE (Sept 7,1776) - First operational mission by a submarine - Sergeant Ezra Lee (world class athlete) - Failed probably due to copper sheathing. C. CSS HUNLEY (Feb 17, 1864) - “The Peripatetic Coffin” - Successfully sank USS HUSATONIC - Did not return D. So, what do we need for a real submarine? - Surface propulsion (“legs”) - Submerged propulsion - True submergence capability (ballast system) - Stand-off weapon E. All of this arrived in the late 19th century - Internal combustion engines - Adequate power/weight ratio generators and motors - Pumps and valves - Whitehead torpedoes F. USS HOLLAND (SS-1) (1900) - John Holland; First to really put it all together - Sold both boats and licenses to many nations. - Training (submarine school) - British A Class lost 7 of 10 - Sub Pay - 1905 (Roosevelt) G. By World War I - 16 countries had a total of > 400 submarines, but all were Hollands or close to it. - Nobody knew what to do with them (coastal defense, fleet attack??) II. Germany First World War Campaign A. Cruiser Rules (Prize rules) B. The real submarine birthday; Sept 22, 1914 a. U-9, Otto Weddigen b. Aboukir, Cressy & Hogue (36K tons & 1420 dead sailors < 1 hour) c. British tactics all wrong d. Major impact on both British and German strategy & tactics. C. In response to British blockade and as they now see the U-boat as an offensive weapon; on 2/4/15 Germany declares a war zone around England (no prize rules for British ships.) Sinkings take off. -
Friendly Fire Live Show Ever Was at Sketchfest in San Francisco!
00:00:00 Promo Clip Music: Sweeping, dramatic action music over a plane engine/propeller. Speaker 1: Can you fly that thing? Speaker 2: Let's find out. [Music fades down, but continues playing through the promo.] 00:00:02 Promo Clip Ben Harrison: We're coming to San Francisco Sketchfest in January and doing a live show, guys! John Roderick: Our live shows are amazing. You know, the first Friendly Fire live show ever was at Sketchfest in San Francisco! Adam Pranica: It's true. Ben: January 16th, we're playing the Gateway Theatre of San Francisco. [He or Adam laughs quietly.] John: Come to it! Ben: And Adam, what movie are we going to be reviewing? Adam: I said I wouldn't do a Friendly Fire live show again unless we did... Rambo III! Ben: [Stifling laughter] The one where he teams up with the Mujahideen and fights the Russians in Afghanistan! Adam: It's fantastic. John: It is not fantastic, but we're gonna do it. Adam: It's better than Commando! [Ben laughs.] John: And it's gonna be great, because our live shows are hi-larious. Ben: January 16th. Get your tickets at SFSketchfest.com or FriendlyFire.fm/live today. [Music fades out.] 00:00:52 Music Music Dramatic music plays under Adam’s dialogue. 00:00:54 Adam Host To be charitable, Germany has a... shall we say, strained relationship with war films? And I mean that in a couple of ways: as the Axis power in a couple of world wars, German soldiers are often—and accurately—depicted as “the bad guys.” And that’s fair any time the side you fight for wages a protracted campaign of genocide. -
John Steinbeck's “The Wayward Bus” | the Enemy Below
John Steinbeck’s “The Wayward Bus” | The Enemy Below THE WAYWARD BUS but The Enemy Below is one of the best, as wonderful gift of melody. it presents both sides of the picture – hero John Steinbeck and the movies seemed and villain – not in black-and-white terms, but In the early 1950s, Harline came to Fox, and made for each other. He was blessed to have with some depth. Robert Mitchum and Curt there he continued to turn out one great score major directors bring his works to the screen Jurgens turn in excellent performances as the after another, including Vicki, Broken Lance, – such greats as John Ford (The Grapes of two captains engaged in a deadly battle of Black Widow, House of Bamboo, The Girl in Wrath) , Elia Kazan (Viva Zapata and East of wits. Powell keeps the film moving along, and the Red Velvet Swing, Good Morning, Miss Eden) , Alfred Hitchcock (Lifeboat) , Lewis the large supporting cast is filled with such Dove, The Bottom of the Bottle, 23 Paces to Milestone (Of Mice and Men and The Red terrific actors as Theodore Bikel, Frank Al - Baker Street, No Down Payment , and many Pony) , and Victor Fleming (Tortilla Flat). It was bertson, David Hedison (billed as Al Hedi - others. In the 1960s, he did several films for a homecoming of sorts for The Wayward Bus son), and two up-and-comers, Doug McClure M-G-M, and received another Oscar nomina - – Twentieth Century Fox had already done (his first screen role) and someone named tion for his work on The Wonderful World of Steinbeck’s The Grapes of Wrath, Lifeboat, Clint Eastwood. -
Good War” Gone Bad
The “Good War” Gone Bad: An analysis of American World War II films made during the Vietnam War - 1955-1975 Karlien Haak 0208957 MA Thesis, American Studies Program, Utrecht University June 29, 2012 Word count: 25,879 2 Table of Contents Introduction p. 3 Chapter One: p. 10 The “Good War” In Political Rhetoric and Popular Culture Chapter Two: p.19 The Development of American World War II Films - 1937-1950 Chapter Three: p.29 World War II films and the Vietnam War - 1955-1965 Chapter Four: p.54 World War II films and the Vietnam War - 1965-1975 Conclusion p.85 Bibliography p.90 3 Introduction “In 1945, the United States inherited the earth…at the end of World War II, what was left of western civilization passed into the American account. […] The continental United States had escaped the plague of war and so it was easy enough for the heirs to believe that they had been anointed by God.”1 In 1984, Studs Terkel published “The Good War”: An Oral History of World War Two. It was the first time that phrase was used to describe World War II, even though the decades before that, World War II was used as a positive reference in political rhetoric and popular culture. Even before Pearl Harbor and the American influence in World War II, presidents, like Roosevelt and Eisenhower, talked about America’s role in the war and movies addressed and reflected the war situation across the sea. Once the United States became involved with the war, the rhetoric changed, as well as the messages in Hollywood films. -
Martin S. Dworkin CLEAN GERMANS and DIRTY POLITICS
Martin S. Dworkin CLEAN GERMANS AND DIRTY POLITICS Six YEARS AFTER viCTORY in Europe and the trials at Nuremberg, there was a scene in a movie, made from a British book by an American company, in which Field Mar shal Rundstedt (Leo G. Carroll) complained to Field Marshal Rommel (James Mason) about the Allied landings in Normandy. If it were not for interference from political generals in Berlin, he said, he would show the invaders of Festung Europa "what a German general can do." The tone makes all the difference, of course, b.:tween this scene from The Desert Fox (1951) and so many similar scenes in the ami-enemy films of the war years, in which patently villainous officers boasted of victories we in the audience knew would never, could never, be won. Carroll and Mason appear as Germans, wearing Nazi eagles. But the film intended them to be believed in their dutiful optimism, and accorded a subtle sympathy because they would not win, after all. Moreover, the sympathy would not be misdirected, as these Germans obviously were enemies only in the old chivalric sense. Once de feated, they could be looked upon with affection-magnifying the victory, to be sure, in praising the vanquished. As David ages, Goliath grows. But turning old enemies into friends is some thing other than boasting of old battles. And on screen, making allies of the Ger mans is no eJsier than elsewhere. In fact, it may require an imaginative wrench, and a renovation of memory, that the movie makers are less able to manage grace fully than can professional adepts at Realpolitik. -
Full Book PDF Download
TNWA01 16/11/06 11:23 AM Page i The naval war film TNWA01 16/11/06 11:23 AM Page ii TNWA01 16/11/06 11:23 AM Page iii The naval war film GENRE, HISTORY, NATIONAL CINEMA Jonathan Rayner Manchester University Press Manchester and New York distributed exclusively in the USA by Palgrave TNWA01 16/11/06 11:23 AM Page iv Copyright © Jonathan Rayner 2007 The right of Jonathan Rayner to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Oxford Road, Manchester M13 9NR, UK and Room 400, 175 Fifth Avenue, New York, NY 10010, USA www.manchesteruniversitypress.co.uk Distributed exclusively in the USA by Palgrave, 175 Fifth Avenue, New York, NY 10010, USA Distributed exclusively in Canada by UBC Press, University of British Columbia, 2029 West Mall, Vancouver, BC, Canada V6T 1Z2 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for ISBN 0 7190 7098 8 hardback EAN 978 0 7190 7098 3 First published 2007 16 15 14 13 12 11 10 09 08 07 10 9 8 7 6 5 4 3 2 1 Typeset in 10.5/12.5pt Sabon by Graphicraft Limited, Hong Kong Printed in Great Britain by CPI, Bath TNWA01 16/11/06 11:23 AM Page v For Sarah, who after fourteen years knows a pagoda mast when she sees one, and for Jake and Sam, who have Hearts of Oak but haven’t got to grips with Spanish Ladies. -
Omage to Takakura Ken on the 1St Anniversary of His Death: Hviewpoints from America & Asia by Richard P
omage to Takakura Ken on the 1st Anniversary of His Death: HViewpoints from America & Asia By Richard P. Greenfield & Naoyuki Haraoka An American Viewpoint (Richard Greenfield) the script with Paul Schraeder, is up to something subversive that his actors will play and that is a full-blown tragedy disguised as an East- It was not common for me to take my younger brother to the West piece of noir exotica. movies. There are three and a half years between us. In 1974, when The curtain rises on the tragic almost immediately when, during the Sydney Pollack’s The Yakuza was released, the first US film that rescue of George Tanner’s daughter, three of the oyabun Tono’s Takakura Ken costarred in (with Robert Mitchum), my brother was in soldiers are killed. For this act of lèse majesté, as Tono sees it, he high school and I was finishing my second year at university. It was wants both Ken and Mitchum dead. As the circumstances force them the year Nixon resigned, and a year before the American chapter of the closer together another character emerges who will, inadvertently, wars in Southeast Asia would end. We had had relatives and friends of complete the tragedy. This is Ken’s older brother, a kind of consigliere family who had served in the Pacific but my parents also had friends to all the yakuza clans. who were Japanese diplomats assigned to serve at the United Nations We do not learn about Harry’s past directly, but rather another of and they were frequent visitors. -
Civil Air Patrol Coastal Patrol Operations, 1942–1943
“An Honorable Place in American Air Power” Civil Air Patrol Coastal Patrol Operations, 1942–1943 Frank A. Blazich Jr., PhD Colonel, CAP Air University Press Maxwell Air Force Base, Alabama Air University Press Library of Congress Cataloging- in- Publication Data Director Names: Blazich, Frank A., Jr., author. | Air University Maj Richard Harrison (U.S.). Press, issuing body. Title: “An honorable place in American air power” Managing Editor : Civil Air Patrol coastal patrol operations, 1942-1943 Dr. Christopher Rein / Frank A. Blazich, Jr. Design and Production Managing Editor Other titles: Civil Air Patrol coastal patrol operations, Luetwinder Eaves 1942-1943 Description: [Maxwell Air Force Base, Ala.] : [Air Uni- Project Editor Donna Budjenska versity Press], [2020] | Includes bibliographical refer ences and index. | Summary: “Military historian and Illustrator Civil Air Patrol (CAP) member Frank A. Blazich Jr. Daniel Armstrong collects oral and written histories of the CAP’s short- Print Specialists lived—but influential—coastal air patrol operations of Megan Hoehn World War II and expands it in a scholarly monograph Nedra Looney that cements the legacy of this vital civil- military cooperative effort”— Provided by publisher. Identifiers: LCCN 2020019712 (print) | LCCN 2020019713 (ebook) | ISBN 9781585663057 (paperback) Air University Press | ISBN 9781585663057 (Adobe PDF) . | Air defenses 600 Chennault Circle, Building 1405 Maxwell AFB, AL 36112-6010 —United States—History. | Civil defense—United States—History. | Anti- submarine warfare—United -
By Alex Macdonald, BA, MA. Thesis Submitted to the University Of
Submarine Films as Narratives of Masculinity. By Alex MacDonald, BA, MA. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy, October 2000. Contents. Chapter. Page. One - Hot, Straight and Normal? An Introduction to Masculinity and 1 the Submarine Film Two - Submarine Fictions 57 Three - Nature 104 Four - The Submarine Body 134 Five - Camaraderie, Emotion and Power in Men's Friendships 166 Six - Rationality 205 Seven - Vision and Power 233 Eight - Ideology and Social Process 253 Nine - The Masculinity of Submarine Space 281 Ten - Conclusions 311 Filmography 317 Bibliography 321 Abstract. The research for this thesis is on representations of masculinity in Anglo-American submarine films since 1943. The discussion will draw on relevant work on the representation of masculinity and popular cinema in film and cultural studies. In particular, the thesis will account for the notion of hegemony in relation to masculinity in the submarine film. Further, the notion of hegemonic masculinity will be addressed in terms of four key claims. These are as follows: that relations between groups are characterised solely by domination and subordination, that a singular hegemonic masculinity prevails at anyone time, that this masculinity is coherent, and that hegemonic masculinity is consistently dominant in relations of power. Through the reading of the films, this thesis will critique the notion of hegemonic masculinity in the following terms: a] the recurrent concern with the group emphasises teamwork and cooperation rather than domination and subordination. Even where these relations operate at the level of fantasy, they can suggest utopian possibilities of mutuality. b] This preoccupation with teamwork shows that the struggle between competing masculinities endorses difference in masculinity, not just a hegemonic masculinity.