DOCSLIB.ORG

Bring out the Thunder. [Original Writing]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bring out the Thunder. [Original Writing] INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 1343617 Bring Out The Thunder. [Original writing] Hartman, Steven Patrick, M.F.A. The American University, 1991 UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 BRING OUT THE THUNDER by Steven P. Hartman submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Creative Writing Signatures of Committee: Chair: D^an of /the College fludM - fly Dati 1 1991 The American University 1 \ U \ Washington, DC 20016 AMERICAN UNIVERSITY LIBRARY © COPYRIGHT by Steven P. Hartman 1991 ALL RIGHTS RESERVED For Dr. John Harcourt, an extraordinary human being. And in memory of Robert Pirosh, writer. 1910-1989 BRING OUT THE THUNDER BY Steven P. Hartman ABSTRACT Bring Out The Thunder is a novel in stories and vignettes. This thesis represents the first two sections (thirty-five chapters) of a three part novel (fifty chapters). Set in rural New York State, in an unusual town called Webb Mills, the novel examines this town and the lives of the people who inhabit it. Webb Mills is a cradle of violence, poverty and recklessness where the everyday mayhem of the townsfolk would be laughable if it weren't often so dangerous. Yet, Webb Mills is also a community of close-knit fraternal ties, of social interdependence: a village so small that the tragedies of one become the heartbreaks of all, the achievements of one, the mild successes of all. The stories are told through the eyes of a young boy who tries to make sense out of a world of nonsense, who tries to construct his own makeshift system of moral and social order through seemingly random experiences of trial and error. ii X \ ACKNOWLEDGEMENTS in April, 1990, Bring Out The Thunder won The Edwin Moses Prize for Literature, awarded by the Graduate English Program at The University of Southern California. The author wishes to acknowledge the faculty of that department, and es­ pecially T. Coraghessan Boyle, for the encouragement he has received on the project. Acknowledgement is also made to publications in which many of these chapters first appeared: "The Secret of Me," "Pool-Playing Pete," "I Remember," "The Margie Cramer Pre­ school," "Pearl Says," "Spanish Pirates," "Horseface," "Run­ away Busses and Criminal Leagues," "Boll Weevil," "The Baron of Zurich," and "And Pearl Says" in Coluiribia: A Magazine of Poetry and Prose; "The Spawn of Satan," "Icelandic Outlaws, Knotty-armed Men," "Walking the Woods" and "Mahalco Joe" in Folio; and "The Jack of Diamonds," "The First Time," "Dead Man's Curve," "The Stag," "A Time For Everything," "The Mohawks," "A Man's Gotta Do What A Man's Gotta Do," "Troop 43," "The Weed," "The Freedom Children" and "Buffalo Billy, Cochise the Eighth, and the year of many things" in VOX. Particularly helpful advice has been given on a number of iii these chapters by Elizabeth Thomas and Paul Gediman at Columbia Magazine. Finally, the author wishes to express his grateful acknowledgement to the members of his faculty thesis committee at the American University, and to Dr. John Harcourt, Ben Masselink, James Mitchell and Michael Wilds, whose encouragement and advice on this novel have been invaluable. iv TABLE OF CONTENTS Abstract................................................... ii Acknowledgements........................................... iii BRING OUT THE THUNDER The Secret of M e ........................................... l I Remember................................................. 7 Pool-playing Pete.......................................... 9 The First Time............................................. 10 Pearl Says................................................. 14 The Margie Cramer Preschool............................... 16 Dead Man's Curve........................................... 19 Horseface.................................................. 23 The Spawn of Satan........................................ 27 A Time For Everything..................................... 30 Mahalco Joe................................................ 39 Spanish Pirates............................................ 46 The Mohawks................................................ 52 The Jack of Diamonds...................................... 56 Dream...................................................... 7 2 Boll Weevil................................................ 73 Runaway Busses and Criminal Leagues....................... 77 Dinosaur Shit 83 Troop 43................................................... 90 The Weed................................................... 92 Icelandic Outlaws, Knotty-armed Men....................... 96 Walking The Woods.......................................... 102 The Stag................................................... 107 The Freedom Children....................................... 112 A Man's Gotta Do What A Man’s Gotta Do..................... 120 The Baron of Zurich........................................ 131 45's and . 38' s ............................................. 140 Eleven Ways To Die qjc. In Search Of The Eternal Silence.... 144 Agnes.......................................................157 The Beats.................................................. 163 The Faerie Changeling Child................................17 3 And Pearl Says............................................. 180 Buffalo Billy, Cochise The Eighth and the year of many things. 181 Maw.........................................................199 The Death of The Anti-leagues Movement..................... 201 "And He Who made kittens put snakes in the grass." — Ian Anderson BRING OUT THE THUNDER THE SECRET OF ME I was born on a grassy knoll in a place called Webb Mills. It was March, 1965, and they say it never rained that spring. The old lady who dried my bones was named Pearl and she had two thumbs on her left hand. Pearl eased me from the womb like a greased watermelon, then she tucked me tight in a burlap guilt. As for my Maw, she wouldn't look at me. Pearl cut the cord with tin-snips and Maw threw up on the spot. The grass always grew higher on that spot--where Maw threw up and where Pearl buried the placenta. It grew tall and green, but it doesn't anymore. There's a driveway there now. Pearl took me home and kept me in a closet for three months. I was supposed to be a secret, but that didn't quite work out. Webb Mills is kind of a small place and nothing is much of a secret there for long. In fact, the longest secret ever kept in Webb Mills was only for ninety-six days, just barely beating out the secret of me. Dexter McGarver had a secret. He buried his wife, Agnes, in eight different places. It's not that he buried her, then unburied her and then buried her again eight times. l 2 No, he buried her in all eight places at once, because Agnes wasn't what you'd call jointly bound anymore. Dexter took care of that. So, for about three months he was a pretty happy guy, walking around with a big goofy grin, singing loud and out of key at church. Some of the women would ask him after services. They'd say "Dexter, now what in the world is Agnes up to? It's just not like her to take the Lord's Day for granted." Dexter would smile kind of timidly and kick the dirt at his feet. He'd say, "Well gee, girls, I guess she's just feeling a bit detached these days." The women would shake their heads and mention how they were going to go on up to McGarver farm and have a talk with Agnes--how she wasn't taking it into account that she was putting her soul in jeopardy. On Sundays the atmosphere was especially good for talk about souls and jeopardy and the temptations of Lucifer. But nobody seemed to talk about those things during the rest of the week and no one ever made it up to McGarver farm, at least not until the floods. in the fall, a big storm happened along and in a short time the fields got flooded. It wasn't long before body parts were popping up all over the place. I guess it was her right shoulder that came up first and that must have been around day eighty-five of Dexter's secret. Before
Load more

Recommended publications
  • Introduction: Frictive Pictures 1 Cartoon Internationale
    Notes Introduction: Frictive Pictures 1. There may be even earlier social groups united by an interest in pre-cinematic visual technologies or animation-like performances such as shadow-plays. But before animation came into being as a cinematic genre between 1898 and 1906 (Crafton 1993, 6–9, 21), these groups could not be properly termed “anima- tion fan communities,” and should be called something else, such as “zoetrope hobbyists” or “utsushi-e [Japanese magic lantern] audiences.” For that reason, I have chosen to begin with film animation in the early twentieth century, starting specifically in 1906–7 with the earliest verifiable hand-drawn ani- mated films in the West and somewhat less-verifiable experiments in Japan. Readers interested in the international influences of earlier visual media such as painting and printmaking on animation should consult Susan J. Napier’s fascinating history of fine arts influences between Japan and Europe, From Impressionism to Anime (2007). 1 Cartoon Internationale 1. For more on the technical specs of the Matsumoto Fragment, see Frederick S. Litten’s “Japanese color animation from ca. 1907 to 1945” available at http:// litten.de/fulltext/color.pdf. 2. Since the mid-2000s, there has been a small but heartening swell of inter- est in recovering and preserving early anime among film conservators and distributors. Some major DVD collections of pre-1945 animation include: Japanese Anime Classic Collection. Tokyo: Digital Meme, 2009 (4 discs, English, Korean, and Chinese subtitles); The Roots of Japanese Anime Until the End of WWII [United States]: Zakka Films, 2008 (English subtitles); Ōfuji Noburō Collected Works.
    [Show full text]
  • Animation Fandom in North America and East Asia from 1906–2010 By
    Animating Transcultural Communities: Animation Fandom in North America and East Asia from 1906–2010 By Sandra Annett A thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of English, Film, and Theatre University of Manitoba Winnipeg © 2011 Sandra Annett Abstract This dissertation examines the role that animation plays in the formation of transcultural fan communities. A ―transcultural fan community‖ is defined as a group in which members from many national, cultural, and ethnic backgrounds find a sense of connection across difference, engaging with each other through a mutual interest in animation while negotiating the frictions that result from their differing social and historical contexts. The transcultural model acts as an intervention into polarized academic discourses on media globalization which frame animation as either structural neo-imperial domination or as a wellspring of active, resistant readings. Rather than focusing on top-down oppression or bottom-up resistance, this dissertation demonstrates that it is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. The methodologies of this dissertations are drawn from film/media studies, cultural studies, and ethnography. The first two parts employ textual close reading and historical research to show how film animation in the early twentieth century (mainly works by the Fleischer Brothers, Ōfuji Noburō, Walt Disney, and Seo Mitsuyo) and television animation in the late twentieth century (such as The Jetsons, Astro Boy and Cowboy Bebop) depicted and generated nationally and ethnically diverse audiences.
    [Show full text]
  • "Ersatz As the Day Is Long": Japanese Popular
    “ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry 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 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War.
    [Show full text]
  • American Media and Perspectives on the Firebombing of Tokyo Kevin Lux
    ______________________________________________________________________________ American Media and Perspectives on the Firebombing of Tokyo Kevin Lux Kevin Lux, a senior history major, is from Clinton, Illinois. After earning his BA, he intends to study Library Science at the Graduate level. He wrote “American Media Perspectives on the Firebombing of Tokyo” for Dr. Jinhee Lee's HIS 4880 Modern Japan class in fall 2015. ______________________________________________________________________________ When it comes to the bombing of cities during the course of World War II, there are three locations which seem to stick out in the minds of people: Dresden, Germany, the city known for its artistic beauty and forever memorialized in Kurt Vonnegut’s Slaughterhouse Five, or Hiroshima or Nagasaki, the two cities which, in August of 1945, became the only casualties of atomic weaponry to date. Interestingly, not Dresden, nor Hiroshima, nor Nagasaki were the deadliest bombing in the course of the Second World War. That infamous honor belongs to the aerial assault on Tokyo over the course of the 9th and 10th of March, in which an estimated 100,000 were killed, and another million were left without homes. Why then, is this not being debated or discussed? The answer is a result of several combining factors. At the time of the event, the American press, a major influence and metaphorical barometer of the feelings of Americans, expressed that the bombing in question was justified and, despite the fact that it was the largest bombardment to date, it received roughly the same coverage as other bombings. If anything, the coverage of the bombing of Tokyo was toned down when compared to other events such as the bombing of Dresden.
    [Show full text]
  • Day2020.Pdf (4.239Mb)
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. UNIVERSITY OF EDINBURGH Pop Cinema: Aesthetic Conversations between Art and the Moving-Image By Tom Day Thesis submitted in fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Design Edinburgh College of Art University of Edinburgh December 2019 I Declaration I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, russthe work presented is entirely my own. Thomas Day December 2019 II Contents Title Page I Declaration II Contents III Abstract IV Acknowledgements VII List of Figures IX Introduction: Cinema
    [Show full text]
  • Primary & Secondary Sources
    Primary & Secondary Sources Brands & Products Agencies & Clients Media & Content Influencers & Licensees Organizations & Associations Government & Education Research & Data Multicultural Media Forecast 2019: Primary & Secondary Sources COPYRIGHT U.S. Multicultural Media Forecast 2019 Exclusive market research & strategic intelligence from PQ Media – Intelligent data for smarter business decisions In partnership with the Alliance for Inclusive and Multicultural Marketing at the Association of National Advertisers Co-authored at PQM by: Patrick Quinn – President & CEO Leo Kivijarv, PhD – EVP & Research Director Editorial Support at AIMM by: Bill Duggan – Group Executive Vice President, ANA Claudine Waite – Director, Content Marketing, Committees & Conferences, ANA Carlos Santiago – President & Chief Strategist, Santiago Solutions Group Except by express prior written permission from PQ Media LLC or the Association of National Advertisers, no part of this work may be copied or publicly distributed, displayed or disseminated by any means of publication or communication now known or developed hereafter, including in or by any: (i) directory or compilation or other printed publication; (ii) information storage or retrieval system; (iii) electronic device, including any analog or digital visual or audiovisual device or product. PQ Media and the Alliance for Inclusive and Multicultural Marketing at the Association of National Advertisers will protect and defend their copyright and all their other rights in this publication, including under the laws of copyright, misappropriation, trade secrets and unfair competition. All information and data contained in this report is obtained by PQ Media from sources that PQ Media believes to be accurate and reliable. However, errors and omissions in this report may result from human error and malfunctions in electronic conversion and transmission of textual and numeric data.
    [Show full text]
  • The Utah Nippo, Salt Lake City's Japanese Americans, and Proving Group Loyalty, 1941-1946
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 8-2012 "Super Salesmen" for the Toughest Sales Job: The Utah Nippo, Salt Lake City's Japanese Americans, and Proving Group Loyalty, 1941-1946 Sarah Fassmann Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the History Commons Recommended Citation Fassmann, Sarah, ""Super Salesmen" for the Toughest Sales Job: The Utah Nippo, Salt Lake City's Japanese Americans, and Proving Group Loyalty, 1941-1946" (2012). All Graduate Theses and Dissertations. 1286. https://digitalcommons.usu.edu/etd/1286 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. “SUPER SALESMEN” FOR THE TOUGHEST SALES JOB: THE UTAH NIPPO, SALT LAKE CITY’S JAPANESE AMERICANS, AND PROVING GROUP LOYALTY, 1941–1946 by Sarah B. Fassmann A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History Approved: David Rich Lewis Lawrence Culver Major Professor Committee Member Melody Graulich Mark R. McLellan Committee Member Vice President for Research and Dean of the School of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2012 ii Copyright © Sarah L. B. Fassmann 2012 All Rights Reserved iii ABSTRACT “Super Salesmen” for the Toughest Sales Job: The Utah Nippo, Salt Lake City’s Japanese Americans, and Proving Group Loyalty, 1941–1946 by Sarah L. B. Fassmann, Master of Arts Utah State University, 2012 Major Professor: Dr.
    [Show full text]
  • Daily Iowan (Iowa City, Iowa), 1943-03-24
    1943 -:::: I I ges I Ration Calendar Warmer A, 0 and C blue Ila'Dpl uplre ~I.r.h 31: ors 11'( tL 01/, .0UpOII expire. April II, OOI'I'EI u.pon 28 •• plr.. April ,11 IOWA: ODIewbat 'warm!'r 111 01\8 "A" •• "~ ••• ~ .. pi,. MIY t i l cuteI'D perilOD toclay IIh IItJOAB ".pOD 11 •• ,.... May III: THE DAILY IOWAN er 8HOES .oupon 17 ..plr.. J.D. U, Iowa City's Morning Newspaper dlmlnl.bl~ wbuIs. Idame reading fIVE CENTS 'lUI ASSOCIATED PRUI IOWA CITY, IOWA WEDNESDAY, MARCH 24, 1943 VOLUME X1llI NUMBER 152 'I rlldio IIY, d(!.. I shoUld Ilthel'e(1 only in e's oWn no goOd r;t lady u.s ., British" Flan~ing Movements Peril l5S Pt'C. IS meet. d that t it may e might Ie shall ives ranspOl't Axis Trqops, as Mareth Li"ne 9 Way II forces IeI' Ilide greedy, BOUNDARIES LOOM ALREADY AS POST-WAR HEADACHE I rescue ~~v-'---l Soviets Stabilize Lines South nent, 10 Appalachian (oal Operators Urge Immediate nd that he four Of Kharkoy With Nazis Shifting ull thal Submission of Wage Dispute to Labor Board sUpporl ~ Atlan· ve that Advance to Area West of Kursk :nntalize Accept President's Request for Continued Austrian Unit Trains eh peo. B, BICUAIlD McltlURR Y nce nor 110 laird Pr War Editor lecesslty Bituminous ,Production During Settlement At Camp in Indiana the mo­ Til British hroke the IIlareth line at i llIlchor aIter 're can. NEW YORK (AP) - Soutlicl'I1 Appalarhian soft coal oPol'at'1 3 Brothers of Royal out!lanking it from th real' and th Va Iy JIl ul d axi arm,' \\'8 in th!' p ri! of double enlrapml'nt I t night by till' Eighth d based 01'S re~tel'day uI'ged immediate submisr,ion of the clifl'erenccs be, family of Hapsburgs rinciples tw~ell Appalachian area operators and the Ullited !\filiI' Workel's lIrm~' Ilda ·!tlll 'ut that hndwun~ ar und th lin t th plain " of AlIICI'ica to the WIU' labol' board" for heat'ing alld final deter.
    [Show full text]
  • Note to Users
    NOTE TO USERS This reproduction is the best copy available. Mickey Mouse and the Nazis: The Use of Animated Cartoons as Propaganda During World War II Jason Lapeyre A thesis submitted to the Faculty of Graduate Studies in partial fulfilment of the requirements for the degree of Master of Arts Graduate Program in Film and Television York University North York, Ontario May 2000 National Library Bibliothèque nationale I*I ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Librq of Canada to Bibliothèque nationale du Canada de reproduce, loaq distniute or sell reproduire, prêter, dis~buerou copies ofthis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique- The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fbm it Ni la thèse ni des extraits substantiels may be p~tedor otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation- Mickey Mouse and the Nazis: The Use of Animated Cartoons as Propaganda During World War II by Jason Lapeyre a thesis submitted to the Faculty of Graduate Studies of York University in partial fulfillment of the requirements for the degree of Master of Arts Permission has been granted to the LIBRARY OF YORK UNIVERSIW to lend or seIl copies of this thesis, to the NATIONAL LIBRARY OF CANADA to microfilm this thesis and to lend or seIl copies of the film, and to UNIVERSITY MICROFILMS to publish an abstract of this thesis.
    [Show full text]
  • Ank Ter One Volume Lxv, No
    SECTION ONE ANK TER ONE VOLUME LXV, NO. 5. BED BANK, N. J., THURSDAY, JULY 23, 1942. PAGES 1 TO 12 Rogers New Member Red Cross To Fill R.A.F. Pilots in Visit Of Ration Board Bicycle Regulations Fair Haven to Receive Richard J. Rogers, Sr., assessor of Large Quota Of the borough of Rumson, has been ap- •#>•; Red Bank Home pointed a member of the war price, Sought by Local Council Bayonne Evacuees and rationing, board to succeed Surgical Dressings Lelghton Lobdell, who resigned -last More Workrooms Return To Duty After Call On Red Bank' Body Seeks Co-operation to Be Established ' Borough Designated As Reception Mr. And Mrs. Frank Brand Of Nearby Municipalities Throughout County Center For 1,513 Persons •f- The-Red Bank borough council, In for tho-last time that can with com- •*•;• T-w© pilots in the Royal Air Fore a discussion on proposed bicycle reg- mercial, plates and without owner's Officials of the county Red Cross Fair Haven has been designated as —Ranald Bloor of. Bllston, Stafford- the reception center lor 1,518 per- ulations at a meeting'Monday night, namo and address plainly viBlble on have juBt received an appeal from 1 shite,'England) and H. R, Barron o First Baptist the United States Armed forces for Dr.A.AlfredPodell sons from Bayonne who will be sent decided to communicate with neigh- the tide.will be prosecuted under London—wero guests last Sunday o the atato law. • surgical dressings, and they are now ther* in the event that Bayonne Is the .former's cousin, Mrs.
    [Show full text]
  • (Iowa City, Iowa), 1945-03-29
    II. tsu ;::=:::==: i8ce Pol. Idon hi, Mr;AT6. FATS. re' ......,.. It IlIro.,1o Z a •• Ibr.. ,h JZ .. 0.. ,.... ,aOCIJSSIJD rOOD8. 1>1 .. a Illelll. 01 ...,., '1:$ Ibr••• 10 Z6 ••• Al! " ...... IS. .... ""II'. • 8VOA&, book I •• , ....., 15 .,&lJ4I f., .i.. p •• aIlL eloudy 8HOE8, .... 111: '1II,t.. aJr,l......... ,., 1. Z ••• S .a1J4I In,.nollelt. OAIJOLINI, 15-A .n.... , ••• t.r tour ••n ••••11' B-S, CoS, a-I, C-I, 8-7 .... C-1 ••• p ... IOWA: bcreulu ('Ioa.~ , ••• for fin 'an.... rVEL OlL, !Ie.I...... Ibr... 10 THE A uWe WanDer. ,i". e •• po.. , •• d . .... lut ,. •• f', ,erJ... f •• r ..41 - fl ... ,eo". lowo City's Morn1ng Uewspaper I. FIVE CENTS IOWA CITY, IOWA THURSDAY. MAIlCH 29. 1145 VOLUME XXI NUMBEB 151 I, ( Interpreting- Soviets; Smash Defense The War Resista nee Folding'; line Guarding Vienna News * •• B1 Klrke L.. ImPlO NAZI YOUTH POINTS OUT SNIPERS Assocl.ted Fre5 War AnaI,5l 4 Hungar~an Wilh the blitUe of inner Ger­ Allies Drive 27 Miles many turning Into a Naz.! mlll­ tar), debacle of as yet incalcula­ able scop. and effect on the 'owns Seized duration or the war in Europe, t­ Effective Sunday- • tentlon lihlfted to the quiet front Raids Continue First, Third in Italy under the Imp ct of two StQlin Announce. circumstances. Capture of GdyniQ, The first was II cBll from Gen. Mark Clark, American comman­ On Ryukyus Pork Pomts Boos ted Near Junction Baltic Naval Base der of allied armies In Itaiy, to W ASHlNGTON (AP) - The mortace, a short time earlier ltaIJan patriots to stand by (or an OPA Iut nllbt Incre ed pork ra- checked back to OPA the pllcken' attempted Na%i retreat.
    [Show full text]
  • Ve Své Bakalářské Práci Se Budu Zabývat Animací Ve Sluţbách Propagandy V USA Během Druhé Světové Války. Konkrétn
    Úvod Ve své bakalářské práci se budu zabývat animací ve sluţbách propagandy v USA během druhé světové války. Konkrétně se budu věnovat zkoumání různých přístupů obrazu nepřítele v odlišných studiových systémech, stejně tak tvůrčích postupů autorů tradičních animovaných postav ve sluţbě agitace za národní zájmy a k mobilizaci uvědomění. Součástí práce bude postiţení vývoje konkrétních charakterů, narativů a výpovědí v animovaných filmech, spojených s válečnou konjunkturou. Dané téma jsem si vybrala z toho důvodu, ţe oblast válečných amerických animovaných filmů ve sluţbě propagandy je poměrně málo známá. Americké animované filmy z období druhé světové války nám poskytují mnoho zajímavých informací o americké masové kultuře tohoto období. Tyto animované filmy byly vyráběné pro stejné publikum jako celovečerní hrané filmy, tedy nikoli pro děti. Jsou zajímavé tím, ţe nás seznamují s dějinami Spojených států a také s populární kulturou určenou pro široké publikum. Bakalářskou práci jsem se rozhodla rozdělit do pěti kapitol. První kapitola má za cíl postihnout definice propagandy obecně, pak v historickém kontextu a dále dle Josefa Goebbelse a Jacquese Ellula. V druhé kapitole vysvětlím vztah propagandy k americké filmové tvorbě. V první části druhé kapitoly se budu zabývat předpoklady (společenskými a politickými) ke vzniku propagandistických filmů ať hraných nebo animovaných. Ve čtvrté části se věnuji konkrétním filmovým dílům. V třetí kapitole se pozastavím u časových proměn propagandistických animovaných filmů. Budu se zabývat obdobím první světové války, třicátých let, nástupu nacismu, a dopodrobna druhou světovou válkou, kterou jsem rozdělila do čtyř části: 1939-1941, 1942-1943, 1944-1945 a období po druhé světové válce. Stručně nastíním politický kontext jednotlivých období, protoţe je to nezbytné pro pochopení celkového vývoje v daném období, myšlenkového vývoje amerických politiků, i amerických občanů, a 1 pro pochopení odezvy jednotlivých studií na tento vývoj.
    [Show full text]