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Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Adam Tušer Depiction of Japanese Soldiers in American War Films Bachelor’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Ph.D. 2015 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. ..................................................... Adam Tušer Acknowledgement I would like to thank my supervisor doc. PhDr. Tomáš Pospíšil, Ph.D. for his valuable comments and feedback. TABLE OF CONTENTS 1. Introduction.................................................................................1 2. Propaganda and Film...................................................................4 3. Guadalcanal Diary........................................................................6 3.1. Film Overview.............................................................................6 3.2. Plot Summary..............................................................................7 3.3. The Japanese Inferiority and Animal-like Nature...........................10 3.4. The Tactics of the Japanese Soldiers Shown in the Films...............16 3.5. The Savagery and Cruelty of the Japanese..................................20 3.6. The Dangerous Snipers..............................................................24 3.7. Summary...................................................................................25 4. Letters from Iwo Jima................................................................26 -
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. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Nominations Before the Senate Armed Services Committee, Second Session, 109Th Congress
S. HRG. 109–928 NOMINATIONS BEFORE THE SENATE ARMED SERVICES COMMITTEE, SECOND SESSION, 109TH CONGRESS HEARINGS BEFORE THE COMMITTEE ON ARMED SERVICES UNITED STATES SENATE ONE HUNDRED NINTH CONGRESS SECOND SESSION ON NOMINATIONS OF HON. PRESTON M. GEREN; HON. MICHAEL L. DOMINGUEZ; JAMES I. FINLEY; THOMAS P. D’AGOSTINO; CHARLES E. McQUEARY; ANITA K. BLAIR; BENEDICT S. COHEN; FRANK R. JIMENEZ; DAVID H. LAUFMAN; SUE C. PAYTON; WILLIAM H. TOBEY; ROBERT L. WILKIE; LT. GEN. JAMES T. CONWAY, USMC; GEN BANTZ J. CRADDOCK, USA; VADM JAMES G. STAVRIDIS, USN; NELSON M. FORD; RONALD J. JAMES; SCOTT W. STUCKY; MARGARET A. RYAN; AND ROBERT M. GATES FEBRUARY 15; JULY 18, 27; SEPTEMBER 19; DECEMBER 4, 5, 2006 Printed for the use of the Committee on Armed Services ( VerDate 11-SEP-98 14:22 Jun 28, 2007 Jkt 000000 PO 00000 Frm 00001 Fmt 6011 Sfmt 6011 36311.TXT SARMSER2 PsN: SARMSER2 NOMINATIONS BEFORE THE SENATE ARMED SERVICES COMMITTEE, SECOND SESSION, 109TH CONGRESS VerDate 11-SEP-98 14:22 Jun 28, 2007 Jkt 000000 PO 00000 Frm 00002 Fmt 6019 Sfmt 6019 36311.TXT SARMSER2 PsN: SARMSER2 S. HRG. 109–928 NOMINATIONS BEFORE THE SENATE ARMED SERVICES COMMITTEE, SECOND SESSION, 109TH CONGRESS HEARINGS BEFORE THE COMMITTEE ON ARMED SERVICES UNITED STATES SENATE ONE HUNDRED NINTH CONGRESS SECOND SESSION ON NOMINATIONS OF HON. PRESTON M. GEREN; HON. MICHAEL L. DOMINGUEZ; JAMES I. FINLEY; THOMAS P. D’AGOSTINO; CHARLES E. McQUEARY; ANITA K. BLAIR; BENEDICT S. COHEN; FRANK R. JIMENEZ; DAVID H. LAUFMAN; SUE C. PAYTON; WILLIAM H. TOBEY; ROBERT L. WILKIE; LT. GEN. -
World War Ii and Us Cinema
ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances. -
Guide to Military History Collections
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO Military History Resources Soldiers on patrol in Vietnam, 1962. Photograph by Richard Tregaskis, Richard Tregaskis Papers, American Heritage Center. Compiled and Edited by Ryan E. Frost 2009 1 American Heritage Center Guide to Military History Resources Introduction The American Heritage Center (AHC) is the University of Wyoming’s (UW) repository for historical manuscripts, rare books, and university archives. Internationally known for its historical collections, the AHC first and foremost serves the students and citizens of Wyoming. The AHC sponsors a wide range of scholarly and popular programs including lectures, symposia, and exhibits. A place where both experts and novices engage with the original sources of history, access to the AHC is free and open to all. Collections at the AHC go beyond both the borders of Wyoming and the region, and support a wide range of research and teachings activities in the humanities, sciences, arts, business, and education. Major areas of collecting include Wyoming and the American West, the mining and petroleum industries, environment and natural resources, journalism, military history, transportation, the history of books, and 20th century entertainment such as popular music, radio, television, and film. The total archival holdings of the AHC are roughly 75,000 cubic feet (the equivalent of 18 miles) of material. The Toppan Rare Books Library holds more than 60,000 items from medieval illuminated manuscripts to the 21st century. Subject strengths include the American West, British and American literature, early exploration of North America, religion, hunting and fishing, natural history, women authors, and the book arts. -
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l\1 I'I,NI~SSI~S 'l,f) l\1illl: \Tf)Jfji~S l~llf))J '1,111~ lliJ'I,fJI~IlS f)llilf_. IIIS'I,f)llY illlfjJJJ\TJ~S Image from the Alexander and Bertha Bell Papers, Special Collections & University Archives September 14 to December 31, 2005 Callery '50 Special Collections and University Archives Rutgers University Libraries Rutgers University Libraries RUTGERS WITNESSES TO WAR: VOICES FROM THE RUTGERS ORAL HISTORY ARCHIVES A GUIDE TO THE EXHIBITION Sandra Stewart Holyoak PeterAsch Stephanie Darrell Shaun Illingworth Nicholas Molnar Susan Yousif Curators of the Exhibition Special Collections & University Archives Rutgers University Libraries New Brunswick, New Jersey September 14 - December 23, 2005 - 2- WITNESSES TO WAR: THE USE OF FIRST-PERSON PRIMARY RESOURCES IN THE STUDY OF WORLD WAR II AND THE UNITED STATES, 1989-2005 INTRODUCTION History is lived in instants and revealed in stages. The story of the United States' involvement in the Second World War initially took shape through the pens and lenses of war correspondents and the home front press and the typewriters of government public relations officers. Journalists like Ernie Pyle, Homer Bigart and GI cartoonist Bill Mauldin aspired to transmit the true essence of the war, while the media's lesser lights and the PR men presented a sanitized record draped in patriotic bravado. 1 In the immediate post-war period, the branches of the Armed Forces issued official histories that dealt primarily with battle maneuvers and administrative matters.2 As the surviving luminaries among the Western Allies retired from the military and/or public life in the 1940s, 1950s and 1960s, they composed (with the assistance of ghostwriters in some cases) and published their memoirs, followed shortly thereafter by their subordinates. -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
"Jumping JAG", the Incredible Wartime Career of Nicholas E. Allen
" Allen was unique in at least one other as a member of the Air Force Judge Advo happened to him- lmtil an exanunation of way: Gavin previously had been so im cate General's Corps, finished his military his NARA me provided the answer. pressed withAllen's legal work that Gavin career as a brigadier general, there is no had obtained a battlefield promotion for doubt that Allen was an exceptional lawyer, 'l'DI~ "lUI. lUUlU(~llNS": him-the only time in history that an a courageous soldier, and an outstanding air 'I'HI~ U2Nn llIlUIOUNI~ nnTISION Army lawyer has received this high honor man.Allen's incredible World War II career for outstanding performance in combat. can only be told today because his military The 82nd Airborne Division has a short Allen rose from second lieutenant to lieu records have been preserved in the but distinguished history. First organized tenant colonel in just two and a half National Archives and Records Administra in 1917 as part of Gen. John ]. Pershing's years-fast even by wartime standards. tion's Military Personnel Records Center in American Expeditionary Force, the unit Allen's World War II career was singu St. Louis, Missouri. Allen died in 1993, but picked up its nickname, the "All-Ameri larly remarkable by any measure, but even because his records contain photographs, cans," from the fact that its originalmem more so because he was a lawyer, not a documents, and detailed repOlts on his per bers hailed from all 48 states. After World combat leader. formance of duty, a complete picture of his War I ended, the division was deactivated When one considers that he subse unusual military career can be assembled. -
WAR UPON MEXICO US Army Mortality Statistics
GO TO MASTER INDEX OF WARFARE WAR UPON MEXICO US Army Mortality Statistics War on Mexico 110 per 1,000 Civil War 65 per 1,000 “I do not think there was ever waged a more wicked war than that waged by the United States on Mexico. I thought so at the time, when I was a youngster, only I had not moral courage enough to resign.” — Ulysses S. Grant, PERSONAL MEMOIRS, 1885 “Fiddle-dee-dee, war, war, war, I get so bored I could scream!” —Scarlet O’Hara Over the years, people I’ve met have often asked me what I’m working on, and I’ve usually replied that the main thing was a book about Dresden. I said that to Harrison Starr, the movie-maker, one time, and he raised his eyebrows and inquired, “Is it an anti-war book?” “Yes,” I said. “I guess.” “You know what I say to people when I hear they’re writing anti-war books?” “No. What do you say, Harrison Starr?” “I say, ‘Why don’t you write an anti-glacier book instead?’” What he meant, of course, was that there would always be wars, that they were as easy to stop as glaciers. I believe that, too. — Kurt Vonnegut, Jr. SLAUGHTERHOUSE-FIVE OR THE CHILDREN’S CRUSADE A DUTY-DANCE WITH DEATH. NY: Dell, 1971, page 3. HDT WHAT? INDEX MEXICO MEJICO GO TO MASTER INDEX OF WARFARE 1632 Bernal Diaz del Castillo’s THE CONQUEST OF MEXICO. 1810 October 19, day: Mexican revolutionary leader Father Miguel Hidalgo y Costilla proclaimed the end of slavery in the nation. -
Heroes at the Push of a Button: the Image of the Photojournalist in Videogames
Heroes at the Push of a Button: The Image of the Photojournalist in Videogames By Jake Gaskill Abstract The impression left on the popular consciousness by every iteration of cinematic technology, from silent movies to talkies to big-budget special effects to IMAX to IMAX 3-D, is impossible to match. However, videogames are able to offer experiences that are incapable of being duplicated, while at the same time never threatening film’s significance in popular culture.1 Both media are made stronger by the presence of the other, and because of that, they often employ similar approaches to genre and narrative technique.2 It is the goal of this discussion to examine the techniques, styles, designs and narrative devices that videogames employ, specifically in games featuring journalists as their heroes, so that we might have a clearer understanding of how videogames are shaping the image of the journalist in popular culture. In a time in history when the credibility of journalists and the news media is threatened regularly, and in a time when rapidly changing technologies are allowing audiences to experience stories in new ways, the potential for a drastic shift in the image of the journalist by way of new technologies, such as next-generation gaming systems, is more possible than ever. Heroes at the Push of a Button: The Image of the Photojournalist in Videogames 2 By Jake Gaskill In order to get a better understanding of how videogame journalists/heroes relate to other forms of fictional journalists/heroes, we will examine the common characteristics of both heroes and journalists, specifically character design, location and the methods by which hero journalists acquire information, transmit the truth to the public, and ultimately the impact journalists and their stories have on their worlds. -
Adelbert Ames in the Civil War.” by Michael Megelsh Master’S Thesis: Liberty University Thesis Director: Dr
“A Mainer From Rockland: Adelbert Ames in the Civil War.” By Michael Megelsh Master’s Thesis: Liberty University Thesis Director: Dr. Brian Melton Second Reader: Dr. Steven Woodworth Table of Contents Introduction……………………………………………………………………………………1 Chapter 1………………………………………………………………………………………10 Chapter 2………………………………………………………………………………………31 Chapter 3………………………………………………………………………………………61 Conclusion……………………………………………………………………………………...87 Bibliography……………………………………………………………………………………95 Introduction Surrounded by rough seas and located along the Cape Fear River, Fort Fisher was considered by the destitute Confederacy to be of vital importance to their survival. By early 1865, the salient fortification remained the last gateway between the Confederate States of America and the Atlantic Ocean. Located 18 miles south of the prized city of Wilmington, North Carolina, the formidable fortress had evaded capture while Federal forces held Charleston, Mobile, and every meaningful fortification along the Mississippi River. 1 Its capture would most certainly deliver a severe moral and logistical blow to the weakening Southern armies. Robert E. Lee declared that the fort must remain in Confederate hands at all costs or else he and the Army of Northern Virginia could not endure. 2 The United States War Department and its senior commanders were well aware of the strategic importance of Fort Fisher and the morale which it provided to the weakened Confederacy. In December 1864, 7,000 troops from the Army of the James, under the eccentric Major General Benjamin F. Butler set sail from the Virginia coast eventually joining forces with Rear Admiral David D. Porter and a massive flotilla of 60 warships. 3 Prior to the arrival of the infantry, Porter’s naval command sailed within striking distance of the southern stronghold but failed to force the fort’s defenders to surrender.