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Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat
15 Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat No one could accuse the American cultural industries of giving the Iraq War the silent treatment. Between the 24-hour news cycle and fictionalized enter- tainment, war narratives have played a significant and evolving role in the media landscape since the declaration of war in 2003. Iraq War films, on the whole, have failed to impress audiences and critics, with notable exceptions like Kathryn Bigelow’s The Hurt Locker (2008), which won the Oscar for Best Picture, and her follow-up Zero Dark Thirty (2012), which tripled its budget in worldwide box office intake.1 Television, however, has fared better as a vehicle for profitable, war-inspired entertainment, which is perhaps best exemplified by the nine seasons of Fox’s 24 (2001–2010). Situated squarely between these two formats lies the television miniseries, combining seriality with the closed narrative of feature filmmaking to bring to the small screen— and, probably more significantly, to the DVD market—a time-limited story that cultivates a broader and deeper narrative development than a single film, yet maintains a coherent thematic and creative agenda. As a pioneer in both the miniseries format and the more nebulous category of quality television, HBO has taken fresh approaches to representing combat as it unfolds in the twenty-first century.2 These innovations build on yet also depart from the precedent set by Band of Brothers (2001), Steven Spielberg’s WWII project that established HBO’s interest in war-themed miniseries, and the subsequent companion project, The Pacific (2010).3 Stylistically, both Band of Brothers and The Pacific depict WWII combat in ways that recall Spielberg’s blockbuster Saving Private Ryan (1998). -
Literary War Journalism: Framing and the Creation of Meaning J
Literary War Journalism: Framing and the Creation of Meaning J. Keith Saliba, Ted Geltner Journal of Magazine Media, Volume 13, Number 2, Summer 2012, (Article) Published by University of Nebraska Press DOI: https://doi.org/10.1353/jmm.2012.0002 For additional information about this article https://muse.jhu.edu/article/773721/summary [ Access provided at 1 Oct 2021 07:15 GMT with no institutional affiliation ] Literary War Journalism Literary War Journalism: Framing and the Creation of Meaning J. Keith Saliba, Jacksonville University [email protected] Ted Geltner, Valdosta State University [email protected] Abstract Relatively few studies have systematically analyzed the ways literary journalists construct meaning within their narratives. This article employed rhetorical framing analysis to discover embedded meaning within the text of John Sack’s Gulf War Esquire articles. Analysis revealed several dominant frames that in turn helped construct an overarching master narrative—the “takeaway,” to use a journalistic term. The study concludes that Sack’s literary approach to war reportage helped create meaning for readers and acted as a valuable supplement to conventional coverage of the war. Keywords: Desert Storm, Esquire, framing, John Sack, literary journalism, war reporting Introduction Everything in war is very simple, but the simplest thing is difficult. The difficulties accumulate and end by producing a kind of friction that is inconceivable unless one has experienced war. —Carl von Clausewitz Long before such present-day literary journalists as Rolling Stone’s Evan Wright penned Generation Kill (2004) and Chris Ayres of the London Times gave us 2005’s War Reporting for Cowards—their poignant, gritty, and sometimes hilarious tales of embedded life with U.S. -
The Wire the Complete Guide
The Wire The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 29 Jan 2013 02:03:03 UTC Contents Articles Overview 1 The Wire 1 David Simon 24 Writers and directors 36 Awards and nominations 38 Seasons and episodes 42 List of The Wire episodes 42 Season 1 46 Season 2 54 Season 3 61 Season 4 70 Season 5 79 Characters 86 List of The Wire characters 86 Police 95 Police of The Wire 95 Jimmy McNulty 118 Kima Greggs 124 Bunk Moreland 128 Lester Freamon 131 Herc Hauk 135 Roland Pryzbylewski 138 Ellis Carver 141 Leander Sydnor 145 Beadie Russell 147 Cedric Daniels 150 William Rawls 156 Ervin Burrell 160 Stanislaus Valchek 165 Jay Landsman 168 Law enforcement 172 Law enforcement characters of The Wire 172 Rhonda Pearlman 178 Maurice Levy 181 Street-level characters 184 Street-level characters of The Wire 184 Omar Little 190 Bubbles 196 Dennis "Cutty" Wise 199 Stringer Bell 202 Avon Barksdale 206 Marlo Stanfield 212 Proposition Joe 218 Spiros Vondas 222 The Greek 224 Chris Partlow 226 Snoop (The Wire) 230 Wee-Bey Brice 232 Bodie Broadus 235 Poot Carr 239 D'Angelo Barksdale 242 Cheese Wagstaff 245 Wallace 247 Docks 249 Characters from the docks of The Wire 249 Frank Sobotka 254 Nick Sobotka 256 Ziggy Sobotka 258 Sergei Malatov 261 Politicians 263 Politicians of The Wire 263 Tommy Carcetti 271 Clarence Royce 275 Clay Davis 279 Norman Wilson 282 School 284 School system of The Wire 284 Howard "Bunny" Colvin 290 Michael Lee 293 Duquan "Dukie" Weems 296 Namond Brice 298 Randy Wagstaff 301 Journalists 304 Journalists of The Wire 304 Augustus Haynes 309 Scott Templeton 312 Alma Gutierrez 315 Miscellany 317 And All the Pieces Matter — Five Years of Music from The Wire 317 References Article Sources and Contributors 320 Image Sources, Licenses and Contributors 324 Article Licenses License 325 1 Overview The Wire The Wire Second season intertitle Genre Crime drama Format Serial drama Created by David Simon Starring Dominic West John Doman Idris Elba Frankie Faison Larry Gilliard, Jr. -
Generation Kill (The Novel and the HBO Series) and One Bullet Away
Three Perspectives of the Iraq War: Generation Kill (the novel and the HBO Series) and One Bullet Away Feješ, Marko Undergraduate thesis / Završni rad 2015 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:994742 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-02 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Preddiplomski studij: Engleski jezik i književnost - pedagogija Three Perspectives on the Iraq War: Generation Kill (the Novel and the HBO Series) and One Bullet Away Završni rad Marko Feješ Mentor: izv. prof. dr. sc. Sanja Runtić Sumentor: dr. sc. Jasna Poljak Rehlicki Lipanj, 2015. Contents Abstract……………………………………………………………………………… ....... 1 Introduction………………………………………………………………………….. ....... 2 1. An Overview of War Journalism……………………………………………………… 5 2. An Officer’s Position and Perspective……………………………………………….... 8 3. Enlisted Men’s Position and Perspective………………………………………….. ...... 9 4. Battle of Nasiriyah……………………………………………………………….. ..... .10 4.1. A Journalist’s Perspective………………………………………………… .. 10 4.2. An Officer’s Perspective……………………………………………………. 11 4.3. Enlisted Men’s Perspective……………………………………………... ..... 12 5. Battle of Al Muwaffaqiyah………………………………………………………. -
August 4, 2006.Indd
III Marine Expeditionary Force and Marine Corps Bases Japan August 4, 2006 www.okinawa.usmc.mil Marines prepare to storm a building July 27 during military operations on urbanized terrain training in Central Training Area’s Combat Town. Fifty- two Marines with Combat Assault Battalion, 3rd Marine Division, participated in the training which covered tactics such as room clearing and communication between multiple fire teams. Photo by Sgt. C. Nuntavong GOING TO TOWN Lance Cpl. Eric D. Arndt Area’s Combat Town. to display where a target was hit. 1st CAB Marines Okinawa Marine Staff The training consisted of instruction on The intent of the training was to ex- MOUT tactics, followed by live-fire combat pose the Marines to close quarters combat CENTRAL TRAINING AREA — Fifty- scenarios with SESAMS, or special-effect techniques used in urban environments. target urbanized two Marines with Combat Assault Battal- small arms marking system rounds. The The Marines practiced room-clearing ion, 3rd Marine Division, participated in rounds, fired out of a special receiver for and emphasized team communication, military operations on urbanized terrain M-16 rifles and the M-4 carbine, leave a according to Gunnery Sgt. Chad E. Love, terrain tactics training July 26-27 at Central Training bright, washable liquid on the impact area See COMBAT PG. 6 Mobile ‘fi re team’ trains MAW Marines Lance Cpl. Terence L. Yancey to units rather than vice versa, according to Chief Okinawa Marine Staff Petty Officer Wayne Morgan, one of the fire team instructors. KADENA AIR BASE — Nine Navy instructors from “It’s a lot less expensive for the Department of the Center for Naval Aviation Technical Training Defense to fly nine of us out to give training than it is Unit in Whidbey Island, Wash., taught shipboard for them to fly an entire unit to us,” Morgan said. -
In Evan Wright's Generation Kill
International Journal of Liberal Arts and Social Science Vol. 8 No. 11 November 2020 Deconstructing the Discursive Frames of the ‘War on Terror’ in Evan Wright’s Generation Kill Maram Elayyan University of Jordan, Jordan- Amman Email: [email protected] Published: 30 November 2020 Copyright © Elayyan. Abstract Relatively few studies have systematically examined the ways literary novels are interrelated and interconnected with media‘s structuring of meaning. This paper analyzes Generation Kill 2004, the narrative of Evan Wright who was an embedded reporter that joined a Platoon of First Recon Marines during the first two months of the invasion on Iraq, on its debunking of discursive media frames of the ‗War on Terror‘. This article employed close reading to answer how Generation Kill blurs the boundary between fact and fiction and how it challenges media‘s framing of Muslims as barbarous terrorists. In addition to this, Generation Kill deflates the American Exceptionalism frame by showing its insincerity and falsehood. Analysis revealed that Western media intentionally structured several dominant frames that represented Muslims as terrorist ‗other‘ and represented Americans as exceptional. The study, however, concludes that Wright‘s literary representation of the war experience helped debunk media‘s discursive frames that were driven and influenced by racial discriminations and Islamophobia. Key words: ‗War on Terror‘, Framing, Islamophobia, the Other, American Exceptionalism Introduction Western mainstream media have established specific frames to promote the ‗War on Terror‘ rhetoric among the Western public post -9/11. This study argues that Evan Wright‘s Generation Kill (2004) challenges two of the predominant frames during the invasion on Iraq in 2003. -
Generation Kill: a Trice Told Tale the Representation of Reality in a Non-Fiction Adaptation
Generation Kill: A Trice Told Tale The representation of reality in a non-fiction adaptation Lisa van Kessel s4105974 English Language and Culture Radboud University Nijmegen June 15 2014 Dr Chris Louttit van Kessel 4105974 / 2 Abstract: In this age of mass media, it is important to be able to find the truth in between the sensationalising and embellishments, especially when it concerns controversial topics. This thesis analyses Generation Kill, the narrative of Evan Wright who is an embedded reporter that joined a platoon of First Recon Marines during the first weeks of the invasion of Iraq, on the representation of reality. Not only Evan Wright's Generation Kill (2004) - a work of literary journalism that wraps the facts in a literary jacket - will be discussed, but also the HBO adaptation Generation Kill (2008) - a fictional adaptation of a non-fiction work. The thesis will answer how Generation Kill by Evan Wright and the HBO series of the same name blur the boundary between fact and fiction and how an adaptation of a non-fiction work can provide a different perspective to the fidelity debate. Keywords: Literary journalism; adaptation studies; fidelity; non-fiction adaptation; Generation Kill. van Kessel 4105974 / 3 Table of Contents Chapter One: Introduction p. 4 Chapter Two: Literary Journalism p. 9 Chapter Three: Adaptation Studies and the Fidelity Debate p. 13 Chapter Four: Analysing Generation Kill (2004) p. 17 Chapter Five: Analysing Generation Kill (2008) p. 25 Chapter Six: Conclusion p. 34 Bibliography p. 38 Essay Cover Sheet p. 41 van Kessel 4105974 / 4 Chapter 1: Introduction "True stories are never quite true, and adaptations of true stories are even less so" (Dwyer, 49). -
Second Interview
ORAL MEMOIRS OF HOPE LONG An interview conducted on July 19, 2018 Interviewer: Kanisorn Wongsrichanalai Angelo State University West Texas Collection “War Stories: West Texans and the Experience of War, World War I to the Present” 1 LEGAL STATUS: The oral memoirs of Hope Long are unrestricted. The interview agreement was signed on July 19, 2018. Interviewer: Kanisorn Wongsrichanalai Transcriber: Cassandra Schultz Editor: Carson Jones The electronic file and complete transcript of this interview were processed in the Department of History at Angelo State University and are available at the Dr. Ralph R. Chase West Texas Collection, Angelo State University, San Angelo, Texas. 2 WONGSRICHANALAI: This is Kanisorn Wongsrichanalai. It is July 19, 2018. We are in San Angelo, Texas at Angelo State University for a War Stories interview. Can we start with your name, please? LONG: Hope Marie Long. WONGSRICHANALAI: And when and where were you born? LONG: I was born in Topeka, Kansas in um 1974. May 8th. WONGSRICHANALAI: That’s V-E Day. LONG: Oh. You know, I forgot all about that. Yeah. WONGSRICHANALAI: And Harry Truman’s birthday. LONG: Yes, I do know that. He’s my favorite president. WONGSRICHANALAI: Very good. Very good. Um and did you grow up in Topeka? LONG: Yes, born and raised. And I never . well, besides vacation to, like, Florida, Missouri, and several other places . uh Colorado, I think. I can’t remember if . yeah! I went there before. Um besides a few vacations outside of it, I never left, you know, to live until I joined the Marine Corps and went to boot camp. -
Generation Kill (HBO, 2008)
TV/Series 9 | 2016 Guerres en séries (I) Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008) Monica Michlin Electronic version URL: https://journals.openedition.org/tvseries/1293 DOI: 10.4000/tvseries.1293 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Monica Michlin, “Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008)”, TV/Series [Online], 9 | 2016, Online since 01 June 2016, connection on 21 September 2021. URL: http://journals.openedition.org/tvseries/1293 ; DOI: https://doi.org/10.4000/ tvseries.1293 This text was automatically generated on 21 September 2021. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguit... 1 Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008) Monica Michlin 1 The HBO mini-series Generation Kill (2008) is a faithful adaptation of most of the events narrated in Evan Wright’s eponymous, embedded “invasion diary” published in 2004. In doing away with the journalist’s first-person voice by shunning voice-over narrative, the series squarely shifts its focus to the grunts, replicating the point of view of most combat films on Iraq – in particular Kathryn Bigelow’s The Hurt Locker released that same year. It also mirrors the perspective of (earlier) embedded documentaries like Tucker and Epperlein’s Gunner Palace (2004), Ian Olds and Garrett Scott’s Occupation: Dreamland (2005) or Deborah Scranton’s The War Tapes (2006). -
Generation Kill Free Ebook
FREEGENERATION KILL EBOOK Evan Wright | 368 pages | 01 Apr 2005 | Penguin Putnam Inc | 9780425200407 | English | New York, NY, United States Generation Kill (TV Mini-Series ) - Full Cast & Crew - IMDb Audible Premium Plus. Cancel anytime. A former captain in the Marines' First Recon Battalion, who fought in Afghanistan and Iraq, reveals how the Corps trains its elite and offers a point-blank account of twenty-first-century Generation Kill. Fick's training begins with a hellish summer at Quantico, after his junior year at Dartmouth, and advances to the pinnacle, Recon, four years later, on the eve of war with Iraq. By: Nathaniel Fick. Ninety-nine elite American soldiers are trapped in the middle of a hostile city. As night falls, they are surrounded by thousands of enemy gunmen. Their wounded are bleeding to death. Their ammunition and supplies are dwindling. Generation Kill is the story of how they got there - and how they fought their way out. Special Forces and puts Generation Kill in the middle of the most intense firelight American soldiers have fought since the Vietnam war. By: Mark Bowden. Easy Company, th Airborne Division, U. Army, was as good a rifle company as any in the world. From their Generation Kill training in Georgia in to D-Day and victory, Ambrose tells the story of this remarkable company, which kept getting the tough assignments. Band of Brothers is the account of the men of this remarkable unit. Generation Kill Stephen Generation Kill. In his New York Times best-selling chronicle of military life, Anthony Swofford weaves his experiences in war with vivid accounts of boot camp, reflections on the mythos of the marines, and remembrances of battles with lovers and family. -
The Embodied Rhetoric of Recruit Training in the United States Marine Corps
BOWMAN, RACHEL LYNNE, Ph.D. The Embodied Rhetoric of Recruit Training in the United States Marine Corps. (2015) Directed by Dr. Stephen R. Yarbrough. 236 pp. In order to win wars, the United States Marine Corps must perform the highly difficult task of training recruits to kill when and whom they should in combat. This training is not primarily a matter of skills, but a matter of promoting an attitude that will facilitate strategic—not indiscriminate—killing. In shaping recruits, the Corps must not strip their agency away entirely, since they need Marines who can think clearly and quickly in the fog of combat, but they must mitigate those parts of recruits’ agency that would keep them from killing when and whom they should. Using rhetoric that falls between coercion and suggestion, therefore, they persuade recruits to become part of the body of the Marine Corps and to take on a Marine ethos that is neither too aggressive nor too restrained. Through critiques of such concepts as bodily persuasion, agency, understandings of cause and effect, and the rhetorical situation, my analysis uses complexity theory and neuroscience along with rhetorical scholarship to explain how the Corps uses knowledge of recruits’ physical perceptual systems to persuade them to adopt the Marine ethos. THE EMBODIED RHETORIC OF RECRUIT TRAINING IN THE UNITED STATES MARINE CORPS by Rachel Lynne Bowman A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2015 Approved by ________________________ Committee Chair To my parents, without whose help I could not have finished my degree, and to Khadar, with whom I now begin a new phase of life. -
Introduction the ENDS of WAR and the LIMITS of WAR CULTURE
Introduction THE ENDS OF WAR AND THE LIMITS OF WAR CULTURE War is back and seemingly forever. In recent years the pacific neoliberal Patrick Deer rhetoric of globalization has been replaced by the Hobbesian imaginary of endless war. The pervasive metaphorization of war blurs the boundaries between military and civilian, combatant and noncombatant, state and war machine, wartime and peacetime. But war discourse also operates as a strategy that partitions, separates, and compartmentalizes knowledge, offering a highly seductive, militarized grid through which to interpret the world. Like a virus, it seems, war tropes have spread throughout the body politic and global economy. What are the ends of war? This special issue of Social Text engages this critical question by challenging narratives of endless conflict, by confronting the seductions of metaphorization and militarization, and by analyzing the historical and material interests that they serve. “The Ends of War” insists on the contingent and instrumen- tal nature of war discourse and on the need to think beyond its global reach. The most seductive aspect of war discourse is its seeming power to manage the contradictory times and spaces of the present. Its greatest appeal lies in its claim to the future. If the prospect of an endless war on terror is less than appealing, it at least offers the compensations of proving “our” technological and economic superiority. The seductive mythology of high-tech, postmodern warfare still enshrined in the mythic active-combat phase of the invasion of Iraq has been kept carefully uncontaminated by the brutal, chaotic realities of the occupation. According to its unstable temporal logic, the invasion of Iraq (20 March – 1 May 2003), like the 100-hour 1991 Gulf War, is completely incommensurable with the Cold War and old “hot wars.” In his otherwise relentlessly bloodless Pentagon briefing two days after the launch of the initial “decapitation strike” and “shock and awe” aerial assault on Baghdad, U.S.