DOCSLIB.ORG

Open Morrisdmilitarism 1 .Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Open Morrisdmilitarism 1 .Pdf The Pennsylvania State University The Graduate School College of Education FILM AS PUBLIC PEDAGOGY IN THE U.S. CULTURE OF MILITARISM A Thesis in Curriculum and Instruction by Douglas S. Morris Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2006 The thesis of Douglas S. Morris was reviewed and approved* by the following: Patrick Shannon Professor of Education Thesis Advisor Chair of Committee Coordinator of Graduate Studies Jacqueline Edmondson Associate Professor of Education Paul Youngquist Professor of English Jeanne Hall Associate Professor of Communications *Signatures are on file in the Graduate School ABSTRACT The following study examines the relationship between militarized Hollywood cinema, the US culture of militarism, the systemic nature of US aggression, and the possibilities for creating a pedagogy of hope that will work to overcome militarism’s abominations. By recognizing film as a powerful form of public pedagogy that shapes beliefs, attitudes, and values, constructs identities and identifications, and directs allegiances and actions (or inactions), the study investigates ways in which Hollywood films work to convey and inculcate circumscribed notions of history through regularized patterns of film images and narratives in pursuit of the indirect or direct goal of distracting public attention, along with conditioning the public mind, engineering public consent, and mobilizing public support for a US culture of militarism dedicated to aggression in the pursuit of global domination. iii TABLE OF CONTENTS Chapter 1. INTRODUCTION……………………………………………………………….1 Chapter 2. THE THEORETICAL FRAMEWORK…..…………………………………….37 Chapter 3. A SHORT HISTORY OF MILITARIZED FILMS…………………………….63 Chapter 4. RULES OF ENGAGEMENT: WASTE THE MOTHERFUCKERS…………..99 Chapter 5. BLACK HAWK DOWN: NO MAN LEFT BEHIND…………………………118 Chapter 6. TEARS OF THE SUN AND COLONIAL TEARS…………...……………….137 Chapter 7. MAN ON FIRE: “KILL ‘EM ALL”…………………………………………...157 Chapter 8. MYSTIC RIVER: THE BLOOD-DIMMED TIDE ……………………………180 Chapter 9. THE PUBLIC PEDAGOGY OF PRESENCE AND ABSENCE……….……...199 Chapter 10. CONCLUSION: THE END OF MILITARISM OR THE END………………237 Appendix: Militarism and Militarization………………………………………………...…269 WORKS CITED……………………………………………………………………………..282 ENDNOTES…………………………………………………………………………………295 iv And you will ask: why doesn't his poetry speak of dreams and leaves and the great volcanoes of his native land. Come and see the blood in the streets. Come and see the blood in the streets. Come and see the blood in the streets! -- Pablo Neruda, “I’m Explaining a Few Things” Interviewer: ANTONIO GRAMSCI, who helped popularize the term "hegemony," wrote in 1925, "A main obstacle to change is the reproduction by the dominating forces of elements of the hegemonic ideology. It’s an important and urgent task to develop alternative interpretations of reality." How does someone develop "alternative interpretations of reality," as Gramsci suggests? I RESPECT Gramsci a lot, but I think it’s possible to paraphrase that comment, namely, just tell the truth. Instead of repeating ideological fanaticism, dismantle it, try to find out the truth, and tell the truth. Does that say anything different? It’s something any one of us can do. Remember, intellectuals internalize the conception that they have to make things look complicated, otherwise what are they around for? But it is worth asking yourself, how much of it really is complicated? --Noam Chomsky, interviewed by David Barsamian, 2003 CHAPTER 1: Introduction “Was it Heraclitus who said war is humanity's natural state? Are those who imagine peace as the ground of a new condition guilty of an irresponsible wishful thinking”? -- James Carroll, “The Grip of War” “Of all the enemies of public liberty war is perhaps the most to be dreaded, because it comprises and develops the germ of every other…No nation could preserve its freedom in the midst of continual warfare.” -- James Madison, “Political Observations” 1795 The absence of critical discussion of the overwhelming presence of militarism in US culture, how it circulates in public spaces, how it educates us publicly and privately, how it works to construct social realities and values and individual identities and allegiances, how it works ideologically in league with the material militarization of US society, how it disappears its bloody legacy, how “dangers loom because of American militarism,”1 the extensive risks, costs and consequences that accompany a militarized society, and how it assumes the “right” of the US to employ violence and destroy lives in international affairs, suggests an immorally foreboding, and potentially catastrophic, gap in the way we understand ourselves as a society and the way we engage the rest of the world. Robert McNamara warns of an “apocalypse soon,” given the “immoral, illegal, militarily unnecessary, and dreadfully dangerous…weapons policy [and culture of militarism] of the United States.”2 The increasing presence of US militarism and aggression as a way of life within conditions in which the possibilities for maintaining self-defense are evaporating suggest an urgent need to critically engage and transform these matters, ideologically, morally and materially.3 How we understand ourselves as a society and how we engage the rest of the world is constructed and conditioned, in important ways, by popular culture. One of the crucial producers of self and global understanding within popular culture is film, “a veritable obsession with American society.”4 Across the history of popular film production in the United States there has been an emphasis on film narratives that draw on and glorify war, militarism and aggression helping to produce and shape a US culture of militarism. While it cannot be suggested that militarized and militarizing films are key components in shaping what is generally elite driven US military policies, it can be suggested that film, aside from its distracting role, shapes public perceptions, directs public allegiances, produces codes, and forms public commitments, about those policies, while constructing public identification with and support for US actions. Codes Shaping Attitudes: This powerful conditioning effect is related to what one might call “assumptions of representation,” wherein film audiences, because of the repeated catapulting of similar militarized narratives (inside and outside cinema) assume the representations are true depictions of both US military endeavors and the reasons for those endeavors which correspond with general audience attitudes and opinions about “war,” for example, that self-defense, but not unilateral aggression, is legitimate. Because films play such a vital role in popular culture as mechanisms of influence that condition the public, films therefore provide an opening for not only critical reflections, discussions and dialogues about the US culture of militarism and its contradictions, but they provide a vehicle for stimulating action-oriented popular mobilizations to challenge and overcome the growing US culture of militarism which now carries with it “an appreciable risk of ultimate doom.”5 A project that examines the US culture of militarism through film, is an attempt to make visible what is too often absent in public pedagogy and to challenge audience assumptions about what is and is not represented, what is and is not known, what is and what is not understood, what is and what ought to be. In short, such a project should work to recognize the political and moral of cinematic public pedagogies. If audiences believe that the standard view in the culture is to respond to challenge and conflict aggressively then violence becomes normalized; in a militarized culture rooted in aggression as part of foreign and domestic policy, military violence is normalized. At the cultural level of attitude and opinion the normalization can compel a move from the descriptive level of what is into a prescriptive level of what should be. Consequently, audiences start to believe not only that aggression is the best way but the only way to respond to 2 conflict and challenge. A cultural attitude develops in which not only is it true that the United States responds aggressively to challenge and conflict, but this is what the United States ought to do. With this coupling of descriptive and prescriptive a self-reproducing ideological and material feedback mechanism is engendered and inscribed, i.e. “the cycle of violence,” which not only produces cultural codes that maintain, engrain and extend the US culture of militarism, but worse it portends increasing cycles of human disaster and suffering. These cultural patterns of what is and what ought to be are internalized as codes, attitudes, scripts, opinions, and habits that frequently remain below the radar of conscious understanding, interrogation and questioning, and if they are critiqued and questioned they are refuted only with great energy and difficulty given the lack of cultural alternatives to the internalized codes and habits.6 Furthermore, because militarized films rarely explore with patience the possibility of peaceful negotiation to conflict and challenge, an attitude of impulsivity and immediate gratification develops in the culture. A culture of impulsivity tends to discount the future because “the temptation for immediate gratification rules [the culture].” Negotiation, politics and diplomacy require patience, critical reflection and time; violence is immediate and impulsive. It
Load more

Recommended publications
  • Undeclared War: Unmanned Drones, Human Rights and Collective Security
    Undeclared War: unmanned drones, human rights and collective security Susan Carolyn Breau, University of Reading/Mark Olssen, University of Surrey Drones constitute, as Barbara Ehrenreich notes, in her ‘Foreword’ to Medea Benjamin’s Drone Warfare: Killing by remote control, the “ultimate action-at-a-distance weapons, allowing the aggressor to destroy targets in Pakistan or Afghanistan while ‘hiding’ thousands of miles away in Nevada” (Ehrenreich, 2013, p. vii). Yet, as Ehrenreich continues, “it is hard to even claim that their primary use is ‘military’ in any traditional sense. Drones have made possible a programme of targeted assassinations that are justified by the US ‘war on terror’, but otherwise in defiance of both international and US law” (p. viii). She notes how Benjamin in her book documents impressively how “it is the CIA, not the Pentagon, that operates most drone strikes in Western Asia, with no accountability whatsoever. Designed targets…have been condemned without evidence or trial – at the will apparently, of the White House. And those who operate the drones do so with complete impunity for the deaths of any civilians who end up as collateral damage.” (p. viii) Although the technical expertise for producing drones was developed as early as the WWI, and although unmanned aerial vehicles were used for gathering intelligence and for reconnaissance during WWII and during the Vietnam and later Balkan wars, their adaptation to becoming lethal military vehicles for the purposes of attacking and destroying specified targets has taken place more recently. Although Abraham Karem assisted the Israeli’s in developing unmanned robots in the 1970s, and built the first Predator drone in his garage in Southern California in the early 1980s 1, the first official use in military conflict only occurred since 1999 with the NATO Kosovo intervention where unmanned robotic aircraft were adapted to carry missiles “transforming them from spy planes into killer drones” (Benjamin, p.
    [Show full text]
  • 7.Castrillo-Echart
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Dadun, University of Navarra Pablo Castrillo Towards a narrative definition of [email protected] PhD Candidate and Lecturer. the American political thriller film University of Navarra. Spain. Pablo Echart Abstract [email protected] Senior Lecturer in The Hollywood political thriller is a film genre of unique Screenwriting. University of relevance in the United States, often acting as a reflection of the Navarra. Spain. fears and anxieties of its historical times. At the same time, however, the definition of its identity and boundaries still leaves Submitted room for further specification, perhaps due to the frequent June 4, 2015 consideration of the political thriller as part of the broader Approved September 30, 2015 categories of either thriller narratives or political films. By revising the available literature and filmography and analyzing the narrative features of the classical political thriller, this © 2015 Communication & Society article proposes a deeper definition of the genre that takes into ISSN 0214-0039 account the nature of the broader ‘thriller’ category of films E ISSN 2386-7876 springing from a specific mode of crime fiction that focuses on a doi: 10.15581/003.28.4. 109-123 www.communication-society.com victim or threatened individual as its protagonist, depicts and conveys intense emotional states, portrays an unbalanced and highly existentialist worldview, and travels into the 2015 – Vol. 28(4), pp. 109-123 extraordinary while at the same time holding on to very concrete expectations of verisimilitude. The political thriller How to cite this article: specifies this broader form of narration and links it to dramatic Castrillo, P.
    [Show full text]
  • Absurd Results, Scrivener's Errors, and Statutory Interpretation Andrew S
    Brooklyn Law School BrooklynWorks Faculty Scholarship Fall 2006 Absurd Results, Scrivener's Errors, and Statutory Interpretation Andrew S. Gold Brooklyn Law School, [email protected] Follow this and additional works at: https://brooklynworks.brooklaw.edu/faculty Part of the Other Law Commons, and the Public Law and Legal Theory Commons Recommended Citation 75 U. Cin. L. Rev. 25 (2006-2007) This Article is brought to you for free and open access by BrooklynWorks. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of BrooklynWorks. ABSURD RESULTS, SCRIVENER'S ERRORS, AND STATUTORY INTERPRETATION Andrew S. Gold* INTRODUCTION When a sheriff arrests a postal employee for murder, does the arrest violate a law against obstructing the passage of the mail?' Or, suppose that a statute makes it illegal to "draw blood" in the streets. Do its terms apply to a doctor who performs emergency surgery in the street?2 What of a prisoner who breaks out of prison because the building is on fire? Does his flight violate a law against prison escapes? 3 Many would say that these laws should not be taken literally. In order to avoid odd results, however, courts sometimes have to rewrite a statute's words. For example, the Ninth Circuit recently concluded, while interpreting the Class Action Fairness Act of 2005, that the word "less" actually means "more. ' 4 Other courts have found that the word "of' means "or,"5 and the word "unlawful" means "lawful." 6 Should judges ever have the power to revise unambiguous statutes? Textualists generally say no to this question, and yet they recognize * Assitant Professor, DePaul University College of Law.
    [Show full text]
  • Please, Will You Take Your Seats. Welcome to Our Plenary On
    FRANCES FOX PIVEN: Please, will you take your seats. Welcome to our plenary on the “Erosion and Rebirth of American Democracy”, with the emphasis, I hope, on the 'rebirth.' You know, we all talk about- we all have our own litany about all the terrible things that have happened in the United States. Some of those terrible things have to do with what has happened to the minimal American welfare state that emerged in the 1930s with the chipping away of programs that guaranteed some income to the poorest people, services to those who needed it, the tax on Unions. Some have to do with the wearing away of the American infrastructure, which we’ve been meeting about for a long time, but we didn’t really get the full blast of what was happening until Katrina, and then the collapse of the Minneapolis Bridge. Some of those woes have to do with the undermining of democratic processes, including the emergence in the last twenty-twenty five years of a propaganda machine that seems to have held at least a majority of the American people in its grip, and drew on, for a very long time, on the susceptibilities that Americans have to issues of race and sex. And then finally the culminating use of propaganda, to my view, was—occurred after the attack on the World Trade Center, the so-called “war on terror,” which then became a war on Iraq. And for a moment at least, war, the excitement, the patriotism, the madness, did hold Americans in its grip, with the consequence that elections were won that would not otherwise have been won.
    [Show full text]
  • Political Reelism: a Rhetorical Criticism of Reflection and Interpretation in Political Films
    POLITICAL REELISM: A RHETORICAL CRITICISM OF REFLECTION AND INTERPRETATION IN POLITICAL FILMS Jennifer Lee Walton A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2006 Committee: John J. Makay, Advisor Richard Gebhardt Graduate Faculty Representative John T. Warren Alberto Gonzalez ii ABSTRACT John J. Makay, Advisor The purpose of this study is to discuss how political campaigns and politicians have been depicted in films, and how the films function rhetorically through the use of core values. By interpreting real life, political films entertain us, perhaps satirically poking fun at familiar people and events. However, the filmmakers complete this form of entertainment through the careful integration of American values or through the absence of, or attack on those values. This study provides a rhetorical criticism of movies about national politics, with a primary focus on the value judgments, political consciousness and political implications surrounding the films Mr. Smith Goes to Washington (1939), The Candidate (1972), The Contender (2000), Wag the Dog (1997), Power (1986), and Primary Colors (1998). iii ACKNOWLEDGMENTS I would like to thank everyone who made this endeavor possible. First and foremost, I thank Doctor John J. Makay; my committee chair, for believing in me from the start, always encouraging me to do my best, and assuring me that I could do it. I could not have done it without you. I wish to thank my committee members, Doctors John Warren and Alberto Gonzalez, for all of your support and advice over the past months.
    [Show full text]
  • Ebook Download the Plays, Screenplays and Films of David
    THE PLAYS, SCREENPLAYS AND FILMS OF DAVID MAMET PDF, EPUB, EBOOK Steven Price | 192 pages | 01 Oct 2008 | MacMillan Education UK | 9780230555358 | English | London, United Kingdom The Plays, Screenplays and Films of David Mamet PDF Book It engages with his work in film as well as in the theatre, offering a synoptic overview of, and critical commentary on, the scholarly criticism of each play, screenplay or film. You get savvy industry tips and strategies for getting your screenplay noticed! Mamet is reluctant to be specific about Postman and the problems he had writing it, explaining. He shrugs off the whispers floating up and down the Great White Way about him selling out and going Hollywood. Contemporary playwright David Mamet's thought-provoking plays and screenplays such as Wag the Dog , Glengarry Glen Ross for which he won the Pulitzer Prize , and Oleanna have enjoyed popular and critical success in the past two decades. The Winslow Boy, Mamet's revisitation of Terence Rattigan's classic play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. House of Games is a psychological thriller in which a young woman psychiatrist falls prey to an elaborate and ingenious con game by one of her patients who entraps her in a series of criminal escapades. Paul Newman plays Frank Calvin, an alcoholic and disgraced Boston lawyer who finds a shot at redemption with a malpractice case. I Just Kept Writing. The impressive number of essays , novels , screenplays , and films that Mamet has produced They might be composed and awesome on the battlefield, but there is a price, and that is their humanity.
    [Show full text]
  • Notes for Frek and the Elixir by Rudy Rucker Copyright (C) Rudy Rucker, 2004
    Frek and the Elixir Notes, Rudy Rucker, 1/22/04 Notes for Frek and the Elixir by Rudy Rucker Copyright (C) Rudy Rucker, 2004. Started preliminary notes on December 15, 2000. Made this formal notes document on May 1, 2001. Started the novel on June 12, 2001. Finish dates as follows. First draft on March 2, 2003. Second draft on April 29, 2003. Third draft on August 10, 2003. Copy edits on November 1, 2003. Page proofs on December 15, 2003. Closed out notes on January 22, 2004. Notes word count 75,500 Notes last revised for posting on January 22, 2004. Word Count.......................................................................................................................7 Progress Table...............................................................................................................7 Estimates and Calculations of Length and Chapter Count............................................8 Lengths of recent novels...........................................................................................8 July 5, 2001. Chap 1 nearly Done. ..........................................................................8 September 7, 2001. Rolling on Chap 3....................................................................8 May 13, 2002. Longer Chapters. .............................................................................8 June 19, 2002. 15, not 17 chapters. .........................................................................8 July 6, 2002. Maybe 16 Chaps. ...............................................................................8
    [Show full text]
  • Season Paul Rudd Talks Ant-Man and the Wasp
    JULY 2018 | VOLUME 19 | NUMBER 6 Inside HENRY CAVILL NEVE CAMPBELL ANTOINE FUQUA BUG SEASON PAUL RUDD TALKS ANT-MAN AND THE WASP PUBLICATIONS MAIL AGREEMENT NO. 41619533 10 FUN FACTS ABOUT MAMMA MIA! HERE WE GO AGAIN, PAGE 24 CONTENTS JULY 2018 | VOL 19 | Nº6 COVER STORY 36 SUPERBUGS Feeling down after the events of Avengers: Infinity War? Paul Rudd, a.k.a. Ant-Man, LILLY. RUDD AND ’S EVANGELINE PAUL is here to lighten the load as he talks about his sequel, Ant-Man and the Wasp, which takes place before Infinity War. The affable actor keeps quiet PHOTO BY MICHAEL MULLER/MARCO GROB/©MARVEL STUDIOS PHOTO on the movie’s plot but opens AND THE ANT-MAN WASP up about working with co-star Evangeline Lilly and what makes Ant-Man so darn likable BY INGRID RANDOJA ON THE COVER: REGULARS 4 EDITOR’S NOTE 6 SNAPS 8 IN BRIEF 12 SPOTLIGHT CANADA 14 ALL DRESSED UP 16 IN THEATRES 40 CASTING CALL 44 RETURN ENGAGEMENT 46 CINEPLEX STORE 50 FINALLY… FEATURES 24 MORE 26 ON A MISSION 28 GOING UP 32 JUSTICE SERVED MAMMA MIA! Henry Cavill tells us about Skyscraper star Neve Campbell The Equalizer 2 director We count down 10 fascinating Mission: Impossible - Fallout says being a former dancer Antoine Fuqua talks about facts that set the stage for this and explains why doing stunts helped when it came to dealing with violence both month’s ABBA-riffic sequel on a Tom Cruise pic is such performing stunts in the on screen and in the real Mamma Mia! Here We Go Again good, scary fun Dwayne Johnson action pic communities where he films BY MARNI WEISZ BY MELISSA SHEASGREEN BY INGRID RANDOJA BY MARNI WEISZ JULY 2018 | CINEPLEX MAGAZINE | 3 EDITOR’S NOTE PUBLISHER SALAH BACHIR EDITOR MARNI WEISZ DEPUTY EDITOR INGRID RANDOJA CREATIVE DIRECTOR LUCINDA WALLACE GRAPHIC DESIGNER DARRYL MABEY VICE PRESIDENT, PRODUCTION SHEILA GREGORY CONTRIBUTORS MELISSA SHEASGREEN ADVERTISING SALES FOR CINEPLEX MAGAZINE IS HANDLED BY CINEPLEX MEDIA.
    [Show full text]
  • April 2018 82
    82 APRIL 2018 APRIL 2018 83 “ A bird-brained movie to cheer the hearts of the far right wing,” sneered Vincent Canby in the 25 July 1974 edition of The New York Times. The movie he was reviewing was Death Wish, a new crime thriller directed by Michael Winner, in which Winner’s frequent cohort, Charles Bronson, embarked on a vigilante crusade in New York, incited by the murder of his wife and rape of his daughter. And Canby wasn’t alone in his disdain. Variety called it “a poisonous incitement to do-it- yourself law enforcement”. Roger Ebert in the Chicago Sun-Times thought its message was “scary”. But Death Wish was unstoppable. In the US, the $3 million movie grossed $22 million and was followed by four sequels, two now infamous for their extreme sexual violence. The fnal one, 1994’s Death Wish V: The Face Of Death, was Bronson’s fnal big-screen role. Even without him, the series refused to die, as the fact there’s a new remake incoming attests. It has, however, taken time to arrive. In 2006, it was announced that Sylvester Stallone would star in and direct a new Death Wish; when he left the project, Joe Carnahan (The A-Team) took over. That version languished in development hell too, and is only now circling the roles of Benjamin and police making it to the screen, directed by Eli DEATHWISH (1974) chief Frank Ochoa. But time went on, Roth from Carnahan’s script and starring It could all have been very different.
    [Show full text]
  • Full Complaint
    Case 1:18-cv-01612-CKK Document 11 Filed 11/17/18 Page 1 of 602 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA ESTATE OF ROBERT P. HARTWICK, § HALEY RUSSELL, HANNAH § HARTWICK, LINDA K. HARTWICK, § ROBERT A. HARTWICK, SHARON § SCHINETHA STALLWORTH, § ANDREW JOHN LENZ, ARAGORN § THOR WOLD, CATHERINE S. WOLD, § CORY ROBERT HOWARD, DALE M. § HINKLEY, MARK HOWARD BEYERS, § DENISE BEYERS, EARL ANTHONY § MCCRACKEN, JASON THOMAS § WOODLIFF, JIMMY OWEKA OCHAN, § JOHN WILLIAM FUHRMAN, JOSHUA § CRUTCHER, LARRY CRUTCHER, § JOSHUA MITCHELL ROUNTREE, § LEIGH ROUNTREE, KADE L. § PLAINTIFFS’ HINKHOUSE, RICHARD HINKHOUSE, § SECOND AMENDED SUSAN HINKHOUSE, BRANDON § COMPLAINT HINKHOUSE, CHAD HINKHOUSE, § LISA HILL BAZAN, LATHAN HILL, § LAURENCE HILL, CATHLEEN HOLY, § Case No.: 1:18-cv-01612-CKK EDWARD PULIDO, KAREN PULIDO, § K.P., A MINOR CHILD, MANUEL § Hon. Colleen Kollar-Kotelly PULIDO, ANGELITA PULIDO § RIVERA, MANUEL “MANNIE” § PULIDO, YADIRA HOLMES, § MATTHEW WALKER GOWIN, § AMANDA LYNN GOWIN, SHAUN D. § GARRY, S.D., A MINOR CHILD, SUSAN § GARRY, ROBERT GARRY, PATRICK § GARRY, MEGHAN GARRY, BRIDGET § GARRY, GILBERT MATTHEW § BOYNTON, SOFIA T. BOYNTON, § BRIAN MICHAEL YORK, JESSE D. § CORTRIGHT, JOSEPH CORTRIGHT, § DIANA HOTALING, HANNA § CORTRIGHT, MICHAELA § CORTRIGHT, LEONDRAE DEMORRIS § RICE, ESTATE OF NICHOLAS § WILLIAM BAART BLOEM, ALCIDES § ALEXANDER BLOEM, DEBRA LEIGH § BLOEM, ALCIDES NICHOLAS § BLOEM, JR., VICTORIA LETHA § Case 1:18-cv-01612-CKK Document 11 Filed 11/17/18 Page 2 of 602 BLOEM, FLORENCE ELIZABETH § BLOEM, CATHERINE GRACE § BLOEM, SARA ANTONIA BLOEM, § RACHEL GABRIELA BLOEM, S.R.B., A § MINOR CHILD, CHRISTINA JEWEL § CHARLSON, JULIANA JOY SMITH, § RANDALL JOSEPH BENNETT, II, § STACEY DARRELL RICE, BRENT § JASON WALKER, LELAND WALKER, § SUSAN WALKER, BENJAMIN § WALKER, KYLE WALKER, GARY § WHITE, VANESSA WHITE, ROYETTA § WHITE, A.W., A MINOR CHILD, § CHRISTOPHER F.
    [Show full text]
  • Counterinsurgency in the Iraq Surge
    A NEW WAY FORWARD OR THE OLD WAY BACK? COUNTERINSURGENCY IN THE IRAQ SURGE. A thesis presented to the faculty of the Graduate School of Western Carolina University in partial fulfillment of the requirements for the degree of Master of Arts in US History. By Matthew T. Buchanan Director: Dr. Richard Starnes Associate Professor of History, Dean of the College of Arts and Sciences. Committee Members: Dr. David Dorondo, History, Dr. Alexander Macaulay, History. April, 2018 TABLE OF CONTENTS List of Abbreviations . iii Abstract . iv Introduction . 1 Chapter One: Perceptions of the Iraq War: Early Origins of the Surge . 17 Chapter Two: Winning the Iraq Home Front: The Political Strategy of the Surge. 38 Chapter Three: A Change in Approach: The Military Strategy of the Surge . 62 Conclusion . 82 Bibliography . 94 ii ABBREVIATIONS ACU - Army Combat Uniform ALICE - All-purpose Lightweight Individual Carrying Equipment BDU - Battle Dress Uniform BFV - Bradley Fighting Vehicle CENTCOM - Central Command COIN - Counterinsurgency COP - Combat Outpost CPA – Coalition Provisional Authority CROWS- Common Remote Operated Weapon System CRS- Congressional Research Service DBDU - Desert Battle Dress Uniform HMMWV - High Mobility Multi-Purpose Wheeled Vehicle ICAF - Industrial College of the Armed Forces IED - Improvised Explosive Device ISG - Iraq Study Group JSS - Joint Security Station MNC-I - Multi-National-Corps-Iraq MNF- I - Multi-National Force – Iraq Commander MOLLE - Modular Lightweight Load-carrying Equipment MRAP - Mine Resistant Ambush Protected (vehicle) QRF - Quick Reaction Forces RPG - Rocket Propelled Grenade SOI - Sons of Iraq UNICEF - United Nations International Children’s Fund VBIED - Vehicle-Borne Improvised Explosive Device iii ABSTRACT A NEW WAY FORWARD OR THE OLD WAY BACK? COUNTERINSURGENCY IN THE IRAQ SURGE.
    [Show full text]
  • Master-Planned Communities
    the distance between you and everything you care about is no greater than the distance between you and your wireless phone. WIRELESS FROM AT&T. -.- YOUR WORLD. CLOSE AT HAND. AT&T AT&T DIGITAL POCKE'fNET"' SERVICE I AT&T FAMILY PIAN I AT&T REGIONAL ADVANTAGE PIAN I AT&T INTERNATIONAL WIRELESS I AT&T WIRELESS BUSINESS SOLUTIONS I All<T DIGITAL ONE RATE'" © 2000AT&T COMMENTARY BRBNNANL~E. eID TECHNOLOGY The good, the bad & the e-ugly have a long way to go before we're in the arne Our continued sue- Here's the good news. evada may not be Silicon Valley, but our state league with Silicon Valley. Nis getting its share of new information tech­ Our continued success in attracting technology nology (IT) companies. States across the nation companies to Nevada depends a great deal on cess in anracting are in fierce competition for what has become the how our elected officials handle key technology "golden" industry. Technology companies are issues. Among these issues is the Sparn Law, sought after because they are environmentally passed in 1997 by Nevada legislators in an effort technology com- friendly, low water users and they pay substan­ to stop unsolicited commercial e-mail. The law tially higher than most other industries. Accord­ has huge loopholes and has done little to stop ing to the American Electronics Association, spammers who continue to target Nevadans. The panies to Nevada high-tech workers earn an average salary of commerce clause of the U.S. Constitution is used $53,000, a figure that is 80 percent higher than by judges as a reason to invalidate state attempts salaries in other industries.
    [Show full text]