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January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949). -
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 -
Ordinary Heroes: Depictions of Masculinity in World War II Film a Thesis Submitted to the Miami University Honors Program in Pa
Ordinary Heroes: Depictions of Masculinity in World War II Film A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors with Distinction by Robert M. Dunlap May 2007 Oxford, Ohio Abstract Much work has been done investigating the historical accuracy of World War II film, but no work has been done using these films to explore social values. From a mixed film studies and historical perspective, this essay investigates movie images of American soldiers in the European Theater of Operations to analyze changing perceptions of masculinity. An examination of ten films chronologically shows a distinct change from the post-war period to the present in the depiction of American soldiers. Masculinity undergoes a marked change from the film Battleground (1949) to Band of Brothers (2001). These changes coincide with monumental shifts in American culture. Events such as the loss of the Vietnam War dramatically changed perceptions of the Second World War and the men who fought during that time period. The United States had to deal with a loss of masculinity that came with their defeat in Vietnam and that shift is reflected in these films. The soldiers depicted become more skeptical of their leadership and become more uncertain of themselves while simultaneously appearing more emotional. Over time, realistic images became acceptable and, in fact, celebrated as truthful while no less masculine. In more recent years, there is a return to the heroism of the World War II generation, with an added emotionality and dimensionality. Films reveal not only the popular opinions of the men who fought and reflect on the validity of the war, but also show contemporary views of masculinity and warfare. -
BATTLE-SCARRED and DIRTY: US ARMY TACTICAL LEADERSHIP in the MEDITERRANEAN THEATER, 1942-1943 DISSERTATION Presented in Partial
BATTLE-SCARRED AND DIRTY: US ARMY TACTICAL LEADERSHIP IN THE MEDITERRANEAN THEATER, 1942-1943 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Steven Thomas Barry Graduate Program in History The Ohio State University 2011 Dissertation Committee: Dr. Allan R. Millett, Adviser Dr. John F. Guilmartin Dr. John L. Brooke Copyright by Steven T. Barry 2011 Abstract Throughout the North African and Sicilian campaigns of World War II, the battalion leadership exercised by United States regular army officers provided the essential component that contributed to battlefield success and combat effectiveness despite deficiencies in equipment, organization, mobilization, and inadequate operational leadership. Essentially, without the regular army battalion leaders, US units could not have functioned tactically early in the war. For both Operations TORCH and HUSKY, the US Army did not possess the leadership or staffs at the corps level to consistently coordinate combined arms maneuver with air and sea power. The battalion leadership brought discipline, maturity, experience, and the ability to translate common operational guidance into tactical reality. Many US officers shared the same ―Old Army‖ skill sets in their early career. Across the Army in the 1930s, these officers developed familiarity with the systems and doctrine that would prove crucial in the combined arms operations of the Second World War. The battalion tactical leadership overcame lackluster operational and strategic guidance and other significant handicaps to execute the first Mediterranean Theater of Operations campaigns. Three sets of factors shaped this pivotal group of men. First, all of these officers were shaped by pre-war experiences. -
BERNARD W. NIDER STORY World War II Veteran
BERNARD W. NIDER STORY World War II Veteran The attached story is taken from the book Operation Recognition – Honoring Nebraska War Veterans written and published by Ivan Schoone. NIDER, BERNARD W. A veteran from Lincoln was very kind in sending me a step by step account of what took place on June 6, 1944, D-Day, the invasion of Normandy by American, Canadian and British forces. This individual, a Nebraskan, was one of the first to hit the beaches when the historic invasion took place. This is his story, one he wrote in remembrance of the 50th anniversary of D-Day, June 6, 1994. It is lengthy but I feel it important to print it in its entirety so the reader can picture from the story what the invasion was like. What it took so freedom could be preserved. For those who do not know for sure what D-Day stands for, Bernard W. Nider explains it. It was a designated day that time was measured from. For example, D-3, meaning 3 days before or D+3, signifying days after the day. All schedules at the time were set around that designated day, 6-June-1944. Nider was born and raised on a farm near Plymouth Nebraska. He was attending the University of Nebraska in the spring of 1943 when the war was beginning to really get going. It was announced that if he would join the Army Reserves he would have a better chance of staying in school. He was only 18 at the time. He felt that his chances of staying in school were good so he joined. -
Contemporary Maghrebi-French Cinema and Its Audiences
Postcolonial Popcorn: Contemporary Maghrebi-French Cinema and its Audiences by Alexander Hastie A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy Department of Geography The University of Sheffield December 2017 Abstract This thesis is a study of popular contemporary postcolonial cinema, through readings of three recent Maghrebi-French films. The research is comprised of the films Days of Glory (2006), Outside the Law (2010) and Free Men (2011), which narrate unfamiliar colonial stories in familiar ways. The films are a significant part of a cultural and commercial ‘shift’ toward more mainstream filmmaking in France, and therefore provide a fascinating and complex point of entry into the study of popular postcolonial cinema. By incorporating the popular into the postcolonial, the primary contribution of this thesis is that it extends the scope of postcolonial cultural criticism, in order to highlight how such an engagement functions to interrupt hegemonic imaginaries of colonial space, memory and gender. Informed by a postcolonial critique, this thesis deploys textual analysis in order to investigate how the films are textually constituted across and through different cultural frameworks, questioning what this means for conceptualising postcolonialism. Primarily investigating the ways in which the films rewrite colonial histories using the genre conventions of Hollywood, this thesis attends to issues pertinent to postcolonial France. The thesis therefore identifies some of the key relationships to space that are narrated throughout the films, in which geographies of belonging and exclusion for Maghrebi- French people are articulated through popular aesthetics. An important part of articulating place is memory, and so this thesis also examines how occluded memories are mobilised and energised at the intersection with more familiar historical imaginaries, showing how this multidirectional relationship works to situate colonial histories in ways that are disruptive of World War Two imaginaries. -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: Las películas de Sam Fuller Autor/es: Aguilar Ricardo Aldarondo, Carlos Citar como: Aguilar Ricardo Aldarondo, C. (1993). Las películas de Sam Fuller. Nosferatu. Revista de cine. (12):78-113. Documento descargado de: http://hdl.handle.net/10251/40865 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Uno Rojo, división de choque (The Big Red One, 1980) : ) r:r 1 e:=::.r:r:, ~ e__:)~ 1 --, r:r=l C" Esa pareja feliz, Lo sceicco bianco, Koibumi, The Burglar, Poema o morie, La tete contre Balas vengadoras les murs, Classe tous risques, Le signe du lion, París nous appartient, One-Eyed Jacks, Jazz On A Summer's Day, Adieu Philippine, (1 Shot Jes se James, 1949) La commare secca, Pour la suite du monde, Rysopis, La vie a l'envers, Nicht versóhnt, De Man die zijn haar kort liet knippen, Shakes l famoso bandido Jesse James, tras un peare Wallah, Covek nije tica, L'enfance Eatraco, vive retirado en una casa de nue, Rachel, Rachel, Tres tristes tigres, campo con su amigo y cómplice Bob Ford. -
Bastards, Brothers and Unjust Warriors
University of Birmingham Bastards, Brothers, and Unjust Warriors: Enmity and Ethics in Just War Cinema Finlay, Christopher DOI: 10.1017/S0260210516000255 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Finlay, C 2017, 'Bastards, Brothers, and Unjust Warriors: Enmity and Ethics in Just War Cinema', Review of International Studies, vol. 43, no. 1, pp. 73-94. https://doi.org/10.1017/S0260210516000255 Link to publication on Research at Birmingham portal Publisher Rights Statement: (c) Cambridge University Press Available online: https://doi.org/10.1017/S0260210516000255 Checked 15/07/2016 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive. -
PAPERS Container List Box 1: ACCETTA, DOMINICK Residence
WORLD WAR II PARTICIPANTS AND CONTEMPORARIES: PAPERS Container List Box 1: ACCETTA, DOMINICK Residence: Fort Lee, New Jersey Service: 355th Infantry Regiment, Europe Volume: -1" Papers (1) (2) [record of Cannon Co., 355th Infantry Regiment, 89th Infantry Division, January- July 1945; Ohrdruf Concentration Camp; clippings; maps; booklet ”The Story of the 89th Infantry Division;” orders; song; ship’s newspaper, January 1946; map with route of 89th Division] AENCHBACHER, A.E. "GENE" Residence: Wichita, Kansas Service: Pilot, 97th Bomber Group, Europe; flew DDE from Gibraltar to North Africa, November 1942 Volume: -1" Papers [letters and news clippings] ALFORD, MARTIN Residence: Abilene, Kansas Service: 5th Infantry Division, Europe Volume: -1" Papers [copy of unit newspaper for 5th Infantry Division, May 8, 1945; program for memorial service; statistics on service and casualties in wars and conflicts] ALLMON, WILLIAM B. Residence: Jefferson City, Missouri Service: historian Volume: -1” 104th Infantry Division (1) (2) [after action report for November 1944 describing activities of division in southwest Holland; this is a copy of the original report at the National Archives] AMERICAN LEGION NATIONAL HEADQUARTERS Residence: Indianapolis, Indiana Service: Veterans’ organization Volume: 13" 1 After the War 1943-1945 [a monthly bulletin published by the Institute on Postwar Reconstruction, August 1943-April 1945] Box 2: American Legion Publications (8)-(11) [civil defense; rights and benefits of veterans; home front; citizenship; universal draft; -
Emotional & Physical
VOL. 20, ISSUE 9 SEPTEMBER 2011 A MONTHLY FORUM FOR PROFESSIONAL DEVELOPMENT EMOTIONAL & PHYSICAL RESILIENCE I will not forget, nor will I allow my comrades to forget, that we are professionals, noncommissioned officers, leaders. pg10 On the Cover A Soldier with B Troop, 1st Squadron, 113th Cavalry Regiment, Task Force Redhorse, scans a nearby hilltop during a February search of Qual-e Jala village, Afghanistan. Photo by Staff Sgt. Ashlee Lolkus September 2011 The NCO Journal CONTENTS Features Master Resiliency Trainers Jennifer Mattson 10 Croix de la Valeur Militaire News To Use Staying Fit: APFRI’s Military Vanguard Award 16 Sgt. Michael A. Espejo Jr. News and information aimed at Soldier-Athlete Program benefiting today’s NCOs/Soldiers 4 Clifford Kyle Jones ‘Don’t Ask, Don’t Tell’ repeal certified by Obama New Phase of the AIT 9-month deployments to begin in 2012 22 2011 U.S. Army Combatives Championship Army releases modernization plan Platoon Sergeant Course Once in Saddam’s army, now a U.S. Army Soldier DoD seeks energy revolution Jennifer Mattson Army forbids using meds after 6 months A Division of Firsts: 1st Infantry Division 28 Jonathan (Jay) Koester 2 - NCO Journal · Vol. 20, No. 9 I will not forget, nor will I allow my comrades to forget, that we are professionals, noncommissioned officers, leaders. pg22 pg16 pg28 The NCO Journal NCO Stories 36 Croix de la Valeur Militaire Military Vanguard Award 50 Sgt. Michael A. Espejo Jr. Roll Call We honor the men and women who have sacrificed their lives in current operations From the Field 40 around the world. -
Bodies of War and Memory: Embodying, Framing and Staging the Korean War in the United States
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 15 | 2017 Lolita at 60 / Staging American Bodies Bodies of War and Memory: Embodying, Framing and Staging the Korean War in the United States Thibaud Danel Electronic version URL: http://journals.openedition.org/miranda/10494 DOI: 10.4000/miranda.10494 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Thibaud Danel, “Bodies of War and Memory: Embodying, Framing and Staging the Korean War in the United States”, Miranda [Online], 15 | 2017, Online since 18 September 2017, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/10494 ; DOI: https://doi.org/10.4000/ miranda.10494 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Bodies of War and Memory: Embodying, Framing and Staging the Korean War in th... 1 Bodies of War and Memory: Embodying, Framing and Staging the Korean War in the United States Thibaud Danel 1 This study of the Korean War (1950-3) endeavors to analyze the war phenomenon in its countless bodily representations of then and now. Based on the distinction that war and memory are fundamentally embodied, this diachronic research will make the best of the specificities of the war in Korea to inquire into the porous nature of the theoretical line that historically relates and yet inevitably divides the two. Since bodies are shaped by war as much as they shape war, bodies of memory can indeed be expected to abide by the same dynamics. -
Tytuł Nośnik Sygnatura Commando DVD F.1 State of Grace DVD F.2 Black Dog DVD F.3 Tears of the Sun DVD F.4 Force 10 from Navaro
Tytuł Nośnik Sygnatura Commando DVD F.1 State of Grace DVD F.2 Black Dog DVD F.3 Tears of The Sun DVD F.4 Force 10 From Navarone DVD F.5 Palmetto DVD F.6 Predator DVD F.7 Hart's War DVD F.8 Three Kings DVD F.9 Antitrust DVD F.10 Prince of The City DVD F.11 Best Laid Plans DVD F.12 The Faculty DVD F.13 Virtuosity DVD F.14 Starship Troopers DVD F.15 Event Horizon DVD F.16 Outland DVD F.17 AI Artificial Intelligence DVD F.18 Aeon Flux DVD F19F.19 No Man's Land DVD F.20 War DVD F.21 Windtalkers DVD F.22 The Sea Wolves DVD F.23 Clay Pigeons DVD F.24 Stalag 17 DVD F.25 Young Lions DVD F.26 Where Eagles Dare DVD F.27 Patton DVD F.28 Das Boot - Director's Cut DVD F.29 The Thin Red Line DVD F.30 Robocop 3 DVD F.31 Screamers DVD F.32 Impostor DVD F.33 Prestige DVD F.34 Fracture DVD F.35 The Warriors DVD F.36 Color of Night DVD F.37 K-19 the Widowmaker DVD F.38 Scorpio DVD F.39 We Were Soldiers DVD F.40 Longest Day DVD F.41 Fear and Loathing in Las Vegas DVD F.42 Soldier of Orange DVD F.43 Pitch Black DVD F.44 Deathsport DVD F.45 Lathe of Heaven DVD F.46 Dark City DVD F.47 Enemy of The State DVD F.48 Quills DVD F.49 Mr Brooks DVD F.50 Almost Famous DVD F.51 Broadcast News DVD F.52 Great Escape DVD F.53 From Here to Eternity DVD F.54F.54 Soldier DVD F.55 Deja VU DVD F.56 Hellboy DVD F.57 Renaissance Paris 2054 DVD F.58 Donnie Darko DVD F.59 Dirty Dozen DVD F.60 King Rat DVD F.61 Gi Jane DVD F.62 Earth VS The Flying Saucers DVD F.63 Catch Me If You Can DVD F.64 Run Silent, Run Deep DVD F.65 Marathon Man DVD F.66 8MM DVD F.67 Panic Room DVD F.68 Two Minute Warning DVD F.69 Switchback DVD F.70 The Day of The Jackal DVD F.71 Cape Fear DVD F.72 Deliverance DVD F.73 Journey to The Far Side of The Sun DVD F.74 Being John Malkovich DVD F.75 Alien Nation.