DOCSLIB.ORG

Who Is the Soldier?: Documenting American “Grunts” from D​ Ispatches T​ O R​ Estrepo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Who Is the Soldier?: Documenting American “Grunts” from D​ Ispatches T​ O R​ Estrepo 1 “Occupying War: US Militarism and Representing War since 1989” Who Is the Soldier?: Documenting American “Grunts” from ​Dispatches ​to ​Restrepo Abstract: ​This chapter compares the ways Michael Herr in ​Dispatches​ (1977) and Tim Hetherington and Sebastian Junger in ​Restrepo​ (2010) represent American soldiers in the context of military professionalization following the establishment of the AVF. These works are seminal landmarks of the grunt’s-eye view genre, but they produce the average soldier’s subjectivity and identity very differently and, in turn, foster different relationships between their American audiences and this figure. Herr, I argue, represents the “grunts” of Vietnam as ​we all​ while ​Restrepo​’s directors portray the Army platoon in Afghanistan as a collective ​who?​. I show how the subtle aesthetic changes to documenting the average infantryman reflects and enforces the logics of professionalization as well as the intensifying distance between the American public and those who fight America’s wars. Keywords:​ Grunt’s-eye view, documentary, New Journalism, aesthetics, liminality, soldier figure, US military, professionalization, persistent warfare. Introduction “I got it. I got it, man. I’m the narrator!” says Juan “Doc” Restrepo before introducing his fellow soldiers. The bright-eyed recruit picks up a hand-held camera and aims it at the guys sitting around him​—​“O’Brizzel,” “Peebes,” and “Kim”​—​whose tee-shirts and stubble make them indistinguishable from civilian twenty-somethings. The grainy and unsteady footage matched by the guys’ ensuing inside jokes and goofy faces cause the opening scene of Sebastian Junger and Tim Hetherington’s documentary ​Restrepo (2010) to resemble a home movie, a record meant solely to incite laughter and nostalgia in its subjects. And this footage which bookends the film​—​footage of a seemingly private yet mundane moment among buddies “loving life and getting ready to go to war,” as Restrepo narrates​—​embodies one of the documentary’s underlying tensions: Who is the narrator? Whose story does ​Restrepo​ tell? Is it the collective story of the platoon stationed in Afghanistan’s Korengal Valley in 2007, told “through the eyes of the soldiers themselves,” as the film’s directors contend?1 Restrepo​’s formal conventions foster the illusion that the film is a neutral and direct channel between the soldiers and viewers, a seeming antidote to the ways popular war reportage, according to Judith Butler and other critics, has distanced America’s contemporary wars from the public and made 1 Tim Hetherington and Sebastian Junger, “Story,” ​Restrepo​, 2009, http://restrepothemovie.com/story/. Cawley | 2 them​ ​increasingly difficult for civilians to apprehend.2 But a closer examination of ​Restrepo​ reveals that the film has more in common with this trend than the intimate identification implied by the directors’ claim “their lives were our lives.”3 One example of ​Restrepo​’s alternative perspective surfaces early in the film. Captain Dan Kearney speaks to a group of local Afghan men as part of the platoon’s strategy to sustain the security of a local road project. While Kearny explains, if you cooperate “we can ... make you guys richer, make you more powerful,” the camera zooms in on the worn hands of one Afghan elder, patiently struggling to insert a straw into a Capri Sun juice pouch. This shot set against what could be Kearney’s pitch to a boardroom of investors presents a profound disconnect between the soldiers’ perceptions, training, and attitudes and the reality of the war. Crucially, viewers are made privy to this dissonance, placing us in a privileged seat of judgment. Viewers do not look ​with​ Captain Dan Kearney, we look ​at​ him—​​ a defining feature of the film. We are constantly invited to view​ ​the men of the Army’s 173rd Airborne Brigade Combat Team with pity, confusion, adulation, and horror. In what follows, I explicate this ambivalent portrait of today’s soldiers as part of a larger story of how the representation of American combat soldiers has changed since the Vietnam War. War narratives that do not center on soldiers are rare. However, who the soldier is and how this figure is culturally imagined continually changes, serving as, according to Alain Badiou, an exceptional barometer of our political climate. Badiou acknowledges that we are “after the point of the aristocratic warrior, and after the period of the democratic soldier,” but he never identifies the poetic container of contemporary society’s “obscure slaughter.”4 I want to suggest that beginning in the Vietnam War, “the average infantryman—or ‘grunt’, as [they] were impolitely called—in Vietnam” has been this container, and studying his cultural evolution throws into relief how military professionalization and the logic of liminality facilitate warfare in the “era of persistent conflict.”5 To trace the differences between the average infantryman of Vietnam and that of America’s post-Cold War campaigns, I compare Hetherington and Junger’s Oscar-nominated documentary and 2 For more on contemporary war reportage and the public see Judith Butler, ​Frames of War: When Is Life Grievable? (London and Brooklyn: Verso, 2009); W.J.T. Mitchell, ​Cloning Terror: The War Images, 9/11 to the Present ​(Chicago: University of Chicago Press, 2011); ​Jeff Lewis, ​Language Wars: The Role of Media and Culture in Global Terror and Political Violence​ (London: Pluto Press, 2005). 3 Hetherington, “Story.” 4 Alain Badiou, “The Contemporary Figure of the Soldier in Politics and Poetry,” UCLA, Jan. 2007, http://www.lacan.com/badsold.htm/. 5 Usage of grunt reported in ​“Grunt, n. 2.b.” ​OED Online​, June 2017, Oxford University Press, http://www.oed.com/view/Entry/82037?rskey=iSd4xF&result=1 (accessed Sept. 13, 2017); The popular designation “era of persistent conflict” was coined by ​General George W. Casey. See George W. Casey, “Persistent Conflict: The New Strategic Environment,” address given to the Los Angeles World Affairs Council, 27 Sept. 2007, and "America's Army in an Era of Persistent Conflict," ​Army Magazine​, October 2008, 28. Cawley | 3 Michael Herr’s seminal New Journalist account of the Vietnam War, ​Dispatches​ (1977). Both are acclaimed touchstones of the grunt’s-eye view genre, a subgenre of cinematic and literary texts that focusses on “the narrow personal experience” of soldiers in war, a designation often used synonymously with “grunt doc,” which Patricia Aufderheide codified in 2007 to describe the tradition of documentary films that portray life and death on the battlefield through the perspective of soldiers, structured by a “voyeuristic quest” and cinéma vérité techniques.6 It is worth noting that in addition to his work as a filmmaker, Sebastian Junger has authored a number of ambitious books that may seem like better candidates for this comparative study. In particular, War ​(2010), the chronicle of Junger’s experience imbedded in Afghanistan, shares ​Dispatches​’ literary medium and fundamental objective​—​in Junger’s words, to convey “what it’s like to serve in a platoon of combat infantry.”7 ​ But unlike ​Restrepo ​and ​Dispatches​, the book lacks the critical and commercial success as well as the artistic value and influence that would warrant its treatment as a landmark of the subgenre. Moreover, in ​War​, Junger often trades in his point of view as correspondent and documentarian for that of biologist, anthropologist, psychologist, and military historian. Fellow war correspondent Dexter Filkins critiques this approach, noting, ​War​ aims to be not only a “boots-on-the-ground narrative … of American fighting men but a discourse on the nature of war itself” that uses “every moment in the Korengal as the occasion for an extended riff.” Junger’s digressions, Filkins importantly senses, cause the characters of Second Platoon to “disappear.”8 This perspective is highlighted by the book’s considerable bibliography and marks a significant departure from the formal and artistic torch ignited by the Vietnam era’s New Journalists as well as the movement’s historical import, a torch held most firmly by today’s documentary filmmakers. In short, ​Dispatches​ and ​Restrepo ​are emblematic of the grunt’s-eye view genre and its trajectory. What crucially distinguishes these texts, then, is how they figure the American soldier’s subjectivity and identity. Most simply, in ​Dispatches​, soldiers are a recognizable ​we all​ while in ​Restrepo​, they constitute an illegible ​who?.​ To explain this distinction, I bring together two lines of criticism. First, the older debates over the politics of literary postmodernism, specifically Linda Hutcheon, Aijaz Ahmad, 6 ​Renny Christopher, ​The Viet Nam War The American War: Images and Representations in Euro-American and Vietnamese Exile Narratives​ (Amherst: University of Massachusetts Press, 1995), 6; Patricia Aufderheide, “Your Country, My Country: How Films About The Iraq War Construct Publics,” ​Framework​ Vol. 48, No 2 (2007), 59-60; Other grunt docs and grunt’s-eye view narratives include ​“M” ​(1966), ​The​ ​Anderson Platoon ​(1967),​ ​Jarhead: A Marine’s Chronicle of the Gulf War and Other Battles ​(2003), ​Gunner Palace​ (2004), ​Baghdad Express: A Gulf War Memoir ​(2003), ​Occupation Dreamland​ (2005), ​Generation Kill​ (2008), ​Armadillo​ (2010), and ​The Good Soldiers (2010). 7 Sebastian Junger, ​War​ (New York: Hatchet Book Group, 2010), 25. 8 Dexter Filkins, “Nothing to Do but Kill and Wait,” ​New York Times​, 14 May 2010, https://www.nytimes.com/2010/05/16/books/review/Filkins-t.html​.
Load more

Recommended publications
  • Barbie Bake-Off and Risk Or Role the Apprentice Model? Documentary Pokémon Go Shorts
    FEBRUARY 2017 ISSUE 59 POST-TRUTH RESEARCHING THE PAST BARBIE BAKE-OFF AND RISK OR ROLE THE APPRENTICE MODEL? DOCUMENTARY POKÉMON GO SHORTS MM59_cover_4_feb.indd 1 06/02/2017 14:00 Contents 04 Making the Most of MediaMag MediaMagazine is published by the English and Media 06 What’s the Truth in a Centre, a non-profit making Post-fact World? organisation. The Centre Nick Lacey explores the role publishes a wide range of of misinformation in recent classroom materials and electoral campaigns, and runs courses for teachers. asks who is responsible for If you’re studying English 06 gate-keeping online news. at A Level, look out for emagazine, also published 10 NW and the Image by the Centre. System at Work in the World Andrew McCallum explores the complexities of image and identify in the BBC television 30 16 adaptation of Zadie Smith’s acclaimed novel, NW. 16 Operation Julie: Researching the Past Screenwriter Mike Hobbs describes the challenges of researching a script for a sensational crime story forty years after the event. 20 20 Bun Fight: How The BBC The English and Media Centre 18 Compton Terrace Lost Bake Off to Channel 4 London N1 2UN and Why it Matters Telephone: 020 7359 8080 Jonathan Nunns examines Fax: 020 7354 0133 why the acquisition of Bake Email for subscription enquiries: Off may be less than a bun [email protected] in the oven for Channel 4. 25 Mirror, Mirror, on the Editor: Jenny Grahame Wall… Mark Ramey introduces Copy-editing: some of the big questions we Andrew McCallum should be asking about the Subscriptions manager: nature of documentary film Bev St Hill 10 and its relationship to reality.
    [Show full text]
  • February 10, 2013 the VIETNAM YEARS for Most of Us Life After
    February 10, 2013 THE VIETNAM YEARS For most of us life after graduation began with 60 days of leave. We returned home and relished the free time and lack of structure. The absence of reveille formations, cadet drill, SAMI inspections, papers, WPRs, and numerous other requirements seemed odd at first, but we quickly adjusted to a more relaxed and less structured life style. During those 60 days many of us married at West Point or in the churches and synagogues we had attended before going to West Point. Several had story-book weddings in an old Army chapel at Fort Myer and rode in a horse-drawn coach with their bride. Some chose classmates as the Best Man whose duties included planning the bachelor party and, all too often, instigating embarrassing pranks. With our beautiful bride beside us and beneath sabres provided generously by the Hostess’s Office at West Point, we posed proudly for photographs in our dress uniforms. Some of us traveled across the United States or to foreign countries. Ron Walter and Rick Bunn borrowed a pop-up trailer, hooked it to Ron’s convertible, and drove through Mexico. Passing through deserts, jungles, mountains, and cities, they arrived in Acapulco and camped on the beach next to the Ritz Hotel, which allowed them to enjoy most of the amenities without the costs. They visited friends near Mexico City, swam in the Pacific, and met many amazing people. Although they were robbed three times (once at gun point), losses were minimal and did not disrupt the adventure. Rick said, “After about a month of playing below the border, we were more than ready to return to the States for a real hamburger and a glass of milk.”1 Looking back on those 60 days, we foresaw a rosy future.
    [Show full text]
  • Political Goals Versus Commercial Goals: Emile De Antonio's Rush To
    Media Industries 6.2 (2019) Political Goals versus Commercial Goals: Emile de Antonio’s Rush to Judgment on the Market Nora Stone1 UNIVERSITY OF ARKANSAS AT LITTLE ROCK norastone [AT] gmail.com Abstract Emile de Antonio had reason to hope that his second documentary, Rush to Judgment (1967), would be as popular as his first, Point of Order! (1963). Made with bestselling author and political commentator Mark Lane, Rush to Judgment was one of the very first films to question the Warren Commission’s conclusion about the Kennedy assassination. However, despite its topicality, Rush to Judgment did not entice exhibitors or audiences. While de Antonio and others attributed the film’s commercial failure to politically motivated censorship and intimidation, this explanation does not account for other factors in the documentary’s release. Using trade journals and Emile de Antonio’s archive, this article finds that Rush to Judgment’s release was hobbled by an inexperienced and dysfunctional distribution company and by de Antonio and Lane’s divergent goals. Most of all, though, the instability of the independent film market in the mid-1960s sunk the release of Rush to Judgment. Keywords: Film Distribution, Documentary, Committed Documentary, Political Emile de Antonio’s first film, Point of Order!, was a surprise success at the box office in 1964. Made with Dan Talbot, owner of the recently opened arthouse New Yorker Theater and later founder of distribution company New Yorker Films, Point of Order! tells the story of the infa- mous Army–McCarthy hearings of 1954. Distributor Walter Reade-Sterling booked Point of Order! in over one hundred cinemas, as well as numerous college campuses.
    [Show full text]
  • Framing 'The Other'. a Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese.*
    Framing ‘the Other’. A critical review of Vietnam war movies and their representation of Asians and Vietnamese.* John Kleinen W e W ere Soldiers (2002), depicting the first major clash between regular North-Vietnamese troops and U.S. troops at Ia Drang in Southern Vietnam over three days in November 1965, is the Vietnam War version of Saving Private Ryan and The Thin Red Line. Director, writer and producer, Randall Wallace, shows the viewer both American family values and dying soldiers. The movie is based on the book W e were soldiers once ... and young by the U.S. commander in the battle, retired Lieutenant General Harold G. Moore (a John Wayne- like performance by Mel Gibson).1 In the film, the U.S. troops have little idea of what they face, are overrun and suffer heavy casualties. The American GIs are seen fighting for their comrades, not their fatherland. This narrow patriotism is accompanied by a new theme: the respect for the victims ‘on the other side’. For the first time in the Hollywood tradition, we see fading shots of dying ‘VC’ and of their widows reading loved ones’ diaries. This is not because the filmmaker was emphasizing ‘love’ or ‘peace’ instead of ‘war’, but more importantly, Wallace seems to say, that war is noble. Ironically, the popular Vietnamese actor, Don Duong, who plays the communist commander Nguyen Huu An who led the Vietnamese People’s Army to victory, has been criticized at home for tarnishing the image of Vietnamese soldiers. Don Duong has appeared in several foreign films and numerous Vietnamese-made movies about the War.
    [Show full text]
  • Appendix Screenings and Additional Resources
    Appendix Screenings and Additional Resources The analyses of various films and television programmes undertaken in this book are intended to function ‘interactively’ with screenings of the films and programmes. To this end, a complete list of works to accompany each chapter is provided below. Certain of these works are available from national and international distribution companies. Specific locations in the United States, the United Kingdom and Australia for each of the listed works are, nevertheless, provided below. The entries include running time and format (16 mm, VHS, or DVD) for each work. (Please note: In certain countries films require copyright clearance for public screening.) Also included below are further or additional screenings of works not analysed or referred to in each chapter. This information is supplemented by suggested further reading. 1 ‘Believe me, I’m of the world’: documentary representation Further reading Corner, J. ‘Civic visions: forms of documentary’ in J. Corner, Television Form and Public Address (London: Edward Arnold, 1995). Corner, J. ‘Television, documentary and the category of the aesthetic’, Screen, 44, 1 (2003) 92–100. Nichols, B. Blurred Boundaries: Questions of Meaning in Contemporary Culture (Bloomington: Indiana University Press, 1994). Renov, M. ‘Toward a poetics of documentary’ in M. Renov (ed.), Theorizing Documentary (New York: Routledge, 1993). 2 Men with movie cameras: Flaherty and Grierson Nanook of the North, Robert Flaherty, 1922. 55 min. (Alternative title: Nanook of the North: A Story
    [Show full text]
  • Advisory Board
    Advisory Board Sam Champi A 1966 West Point graduate, Sam had a brilliant career at the West Point Academy as a star football player on the 1964 Army team that beat Navy and by being in the top 10 in academics in his graduating class, number two in military aptitude and named to the “National Football Collegiate Foundation Scholar Athlete Hall of Fame.” In January 1968 he received a Masters Degree in Civil Engineering from Princeton University. After graduating from the Army’s Ranger School in April 1968, Sam served as a military engineer in Vietnam where he was engaged in numerous engineering tasks such as bridge building. After the Vietnam War ended, he invested time and money and worked diligently to bring low cost housing to Vietnam and insure that the host government obtained products on time and at the best price. Sam will bring his training, drive and business experience to successfully achieve the new company’s goal of readying US Veterans for productive employment. He will fight to keep American jobs onshore while expanding operations at the Veterans Sourcing Group’s domestic outsourcing center in Reading PA. Jon Thompson Jon received his BS from the U.S. Military Academy, West Point, NY and his MS in Aerospace Engineering from the University of Texas. Jon served as a ranger qualified Army reconnaissance combat pilot in Vietnam and was awarded among other decorations, the Bronze Star and 16 Air Medals. Jon has remained active in military affairs and has visited more than 42 countries on official missions relating to U.S.
    [Show full text]
  • Iraq War Documentaries in the Online Public Sphere
    Embedded Online: Iraq War Documentaries in the Online Public Sphere Eileen Culloty, MA This thesis is submitted to Dublin City University for the award of PhD in the Faculty of Humanities and Social Sciences. Dublin City University School of Communications Supervisor: Dr. Pat Brereton September 2014 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________ ID No.: ___________ Date: _________ ii DEDICATION This work is dedicated to the memory of Martin Culloty. … I go back beyond the old man Mind and body broken To find the unbroken man. It is the moment before the dance begins. Your lips are enjoying themselves Whistling an air. Whatever happens or cannot happen In the time I have to spare I see you dancing father Brendan Kennelly (1990) ‘I See You Dancing Father’ iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................ vii LIST OF FIGURES ................................................................................................................ viii ABBREVIATIONS ...................................................................................................................
    [Show full text]
  • Ideological, Dystopic, and Antimythopoeic Formations of Masculinity in the Vietnam War Film Elliott Stegall
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Ideological, Dystopic, and Antimythopoeic Formations of Masculinity in the Vietnam War Film Elliott Stegall Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES IDEOLOGICAL, DYSTOPIC, AND ANTIMYTHOPOEIC FORMATIONS OF MASCULINITY IN THE VIETNAM WAR FILM By ELLIOTT STEGALL A Dissertation submitted to the Program in Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2014 Elliott Stegall defended this dissertation on October 21, 2014. The members of the supervisory committee were: John Kelsay Professor Directing Dissertation Karen Bearor University Representative Kathleen Erndl Committee Member Leigh Edwards Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS I am most grateful for my wife, Amanda, whose love and support has made all of this possible; for my mother, a teacher, who has always been there for me and who appreciates a good conversation; to my late father, a professor of humanities and religion who allowed me full access to his library and record collection; and, of course, to the professors who have given me their insight and time. iii TABLE OF CONTENTS List of Figures................................................................................................................................. v Abstract………………………………………………………………………………………...... vi 1. VIETNAM MOVIES, A NEW MYTHOS OF THE MASCULINE......................................... 1 2. DISPELLING FILMIC MYTHS OF THE VIETNAM WAR……………………………... 24 3. IN DEFENSE OF THE GREEN BERETS ……………………………………………….....
    [Show full text]
  • Complete Documentaries Activities Guide
    Another FREE educational program from SEARCHING forTRUTH Dear Educator: urriculum specialists Young Minds Inspired (YMI), in cooperation with the Academy of Motion Picture Arts Cand Sciences, is proud to present this newest addition to our series of study guides that focus on different branches of the Academy. In this guide, students will learn about documentaries.The kit has been designed for students in high school English, language arts, visual arts and communications classes. As former teachers, we know that these critical-thinking activities capitalize on students’ natural interest in current films and the excitement gener- ated by the Academy Awards®. The Academy, organized in 1927, is a professional honorary organization composed of more than 6,000 motion picture craftsmen and women. Its purposes include advancing the art and science of motion pictures, promoting cooperation among creative leaders for cultur- al, educational, and technological progress; recognizing outstanding achievements; and fostering educational SEWING WOMAN (1983) was a study of filmmaker Arthur Dong's activities between the professional community and the mother who immigrated from China. The mother's narration to this public.Academy members are the people who create picture in the film was, “One day we had a family picture taken and ® movies—the cream of the industry’s actors, animators, sent it back to our son waiting in China. We loved our American .A.S. children but we never felt like a complete family. So, we had our art directors, cinematographers, costume designers, A.M.P first son's portrait plugged into the picture, and that was as close directors, film editors, documentarians, make-up artists, © as we could get to being a whole family.” Sewing Woman composers, producers, sound and visual-effects experts, and family, San Francisco 1953.
    [Show full text]
  • Jack C. Ellis and Betsy A. Mclane
    p A NEW HISTORY OF DOCUMENTARY FILM Jack c. Ellis and Betsy A. McLane .~ continuum NEW YOR K. L ONDON - Contents Preface ix Chapter 1 Some Ways to Think About Documentary 1 Description 1 Definition 3 Intellectual Contexts 4 Pre-documentary Origins 6 Books on Documentary Theory and General Histories of Documentary 9 Chapter 2 Beginnings: The Americans and Popular Anthropology, 1922-1929 12 The Work of Robert Flaherty 12 The Flaherty Way 22 Offshoots from Flaherty 24 Films of the Period 26 Books 011 the Period 26 Chapter 3 Beginnings: The Soviets and Political btdoctrinatioll, 1922-1929 27 Nonfiction 28 Fict ion 38 Films of the Period 42 Books on the Period 42 Chapter 4 Beginnings: The European Avant-Gardists and Artistic Experimentation, 1922-1929 44 Aesthetic Predispositions 44 Avant-Garde and Documentary 45 Three City Symphonies 48 End of the Avant-Garde 53 Films of the Period 55 Books on the Period 56 v = vi CONTENTS Chapter 5 Institutionalization: Great Britain, 1929- 1939 57 Background and Underpinnings 57 The System 60 The Films 63 Grierson and Flaherty 70 Grierson's Contribution 73 Films of the Period 74 Books on the Period 75 Chapter 6 Institutionalization: United States, /930- 1941 77 Film on the Left 77 The March of Time 78 Government Documentaries 80 Nongovernment Documentaries 92 American and British Differences 97 Denouement 101 An Aside to Conclude 102 Films of the Period 103 Books on the Period 103 Chapter 7 Expansion: Great Britain, 1939- 1945 105 Early Days 106 Indoctrination 109 Social Documentary 113 Records of Battle
    [Show full text]
  • Lucy Kroll Papers [Finding Aid]. Library of Congress
    Lucy Kroll Papers A Finding Aid to the Collection in the Library of Congress Manuscript Division, Library of Congress Washington, D.C. 2002 Revised 2010 April Contact information: http://hdl.loc.gov/loc.mss/mss.contact Additional search options available at: http://hdl.loc.gov/loc.mss/eadmss.ms006016 LC Online Catalog record: http://lccn.loc.gov/mm82078576 Prepared by Donna Ellis with the assistance of Loren Bledsoe, Joseph K. Brooks, Joanna C. Dubus, Melinda K. Friend, Alys Glaze, Harry G. Heiss, Laura J. Kells, Sherralyn McCoy, Brian McGuire, John R. Monagle, Daniel Oleksiw, Kathryn M. Sukites, Lena H. Wiley, and Chanté R. Wilson Collection Summary Title: Lucy Kroll Papers Span Dates: 1908-1998 Bulk Dates: (bulk 1950-1990) ID No.: MSS78576 Creator: Kroll, Lucy Extent: 308,350 items ; 881 containers plus 15 oversize ; 356 linear feet Language: Collection material in English Location: Manuscript Division, Library of Congress, Washington, D.C. Summary: Literary and talent agent. Contracts, correspondence, financial records, notes, photographs, printed matter, and scripts relating to the Lucy Kroll Agency which managed the careers of numerous clients in the literary and entertainment fields. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Braithwaite, E. R. (Edward Ricardo) Davis, Ossie. Dee, Ruby. Donehue, Vincent J., -1966. Fields, Dorothy, 1905-1974. Foote, Horton. Gish, Lillian, 1893-1993. Glass, Joanna M. Graham, Martha. Hagen, Uta, 1919-2004.
    [Show full text]
  • IB FILM SL & HL Year 1 Mr. London SUMMER READING
    IB FILM SL & HL year 1 Mr. London SUMMER READING & VIEWING WHAT YOU WILL NEED: ● Either a public library card (FREE)/a Netflix, Hulu, or FilmStruck account ($7.99 - $11 month - but usually these services offer a free trial!) ● Internet access ● A journal/notebook for jotting down observations ● Mr. London’s email: o [email protected] REQUIREMENTS (to be completed ​by the first day of class in August​): 1) Select 10 films​ from the list provided (though watch as many as you can!). You MUST watch 1 film from each of the categories, and the rest is your choice. 2) Write a response (1-2 pages each) for each film. a. If you have access to a computer/laptop, you may type up your responses in a continuing Google document, 12 point Open Sans, and double-spaced (to be shared with me by the first day of class). b. Each film’s response should be in paragraph form and should be about your observations, insights, comments, and connections that you are making between the readings and the films you watch. c. Also, your responses will be much richer if you research information about the films you watch ​before ​you write – ​simply stating your opinion will not give you much material to write about​, and you will not be able to go beyond your own opinion – for example, read online articles/reviews about each film by scholars/critics ​(New York Times, The Guardian, rogerebert.com, IMDB.com, filmsite.org, etc).​ You can also watch awesome video essays on YouTube. Click HERE​ for a great list of YouTube Channels.
    [Show full text]