Miami Goes to War, 1941-1945
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World War II
World War II. – “The Blitz“ This information report describes the events of “The Blitz” during the Second World War in London. The attacks between 7th September 1940 and 10 th May 1941 are known as “The Blitz”. The report is based upon information from http://www.secondworldwar.co.uk/ , http://www.worldwar2database.com/ and http://en.wikipedia.org/wiki/The_Blitz . Prelude to the War in London The Second World War started on 1 st September 1939 with the German attack on Poland. The War in London began nearly one year later. On 24 th August 1940 the German Air Force flew an attack against Thames Haven, whereby some German bombers dropped bombs on London. At this time London was not officially a target of the German Air Force. As a return, the Royal Air Force attacked Berlin. On 5th September 1940 Hitler ordered his troops to attack London by day and by night. It was the beginning of the Second World War in London. Attack on Thames Haven in 1940 The Attacks First phase The first phase of the Second World War in London was from early September 1940 to mid November 1940. In this first phase of the Second World War Hitler achieved great military success. Hitler planned to destroy the Royal Air Force to achieve his goal of British invasion. His instruction of a sustainable bombing of London and other major cities like Birmingham and Manchester began towards the end of the Battle of Britain, which the British won. Hitler ordered the German Air Force to switch their attention from the Royal Air Force to urban centres of industrial and political significance. -
The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos. -
Propaganda, Cinema and the American Character in World War Ii Theodore Kornweibel, Jr
humphrey bogart's Sahara propaganda, cinema and the american character in world war ii theodore kornweibel, jr. How and why a people responds affirmatively to momentous events in the life of its nation is an intriguing question for the social historian. Part of the answer may be found in the degree to which a populace can connect such events to traditional (and often idealistic) themes in its culture, themes which have had wide currency and restatement. This kind of identification can be seen particularly in wartime; twice in this century large segments of the American population rallied around the call to preserve democracy under the guise of fighting a "war to end all wars" and another to preserve the "four freedoms." But popular perceptions of these global conflicts were not without both deliberate and unconscious manipulation in many areas of the culture, including commercial motion pictures. Hollywood produced hundreds of feature films during World War II which depicted facets of that conflict on the domestic homefront, the soil of friendly Allies and far-flung battlefields. Many of the films showed no more than a crude addition of the war theme to plots that would have been filmed anyway in peacetime, such as gangster stories and musical comedies. But other movies reached a deeper level in subtly linking the war to American traditions and ideals. Sahara,1 Columbia Pictures' biggest money-maker in 1943, starring Humphrey Bogart in a finely understated performance, is such a motion picture. Students of American culture will find Sahara and its never-filmed predecessor script, "Trans-Sahara," artifacts especially useful in ex amining two phenomena: the process of government pressure on 0026-3079/81/2201-0005S01.50/0 5 movie studios to ensure that the "approved" war. -
World War II-Related Exhibitions at the National Gallery of Art
National Gallery of Art: Research Resources Relating to World War II World War II-Related Exhibitions at the National Gallery of Art During the war years, the National Gallery of Art presented a series of exhibitions explicitly related to the war or presenting works of art for which the museum held custody during the hostilities. Descriptions of each of the exhibitions is available in the list of past exhibitions at the National Gallery of Art. Catalogs, brochures, press releases, news reports, and photographs also may be available for examination in the Gallery Archives for some of the exhibitions. The Great Fire of London, 1940 18 December 1941-28 January 1942 American Artists’ Record of War and Defense 7 February-8 March 1942 French Government Loan 2 March 1942-1945, periodically Soldiers of Production 17 March-15 April 1942 Three Triptychs by Contemporary Artists 8-15 April 1942 Paintings, Posters, Watercolors, and Prints, Showing the Activities of the American Red Cross 2-30 May 1942 Art Exhibition by Men of the Armed Forces 5 July-2 August 1942 War Posters 17 January-18 February 1943 Belgian Government Loan 7 February 1943-January 1946 War Art 20 June-1 August 1943 Nineteenth- and Twentieth-Century Drawings and Watercolors from French Museums and Private Collections 8 August-5 September 1943 (second showing) Art for Bonds 12 September-10 October 1943 1DWLRQDO*DOOHU\RI$UW:DVKLQJWRQ'&*DOOHU\$UFKLYHV ::,,5HODWHG([KLELWLRQVDW1*$ Marine Watercolors and Drawings 12 September-10 October 1943 Paintings of Naval Aviation by American Artists -
(June 1941) and the Development of the British Tactical Air Doctrine
Journal of Military and Strategic VOLUME 14, ISSUE 1, FALL 2011 Studies A Stepping Stone to Success: Operation Battleaxe (June 1941) and the Development of the British Tactical Air Doctrine Mike Bechthold On 16 February 1943 a meeting was held in Tripoli attended by senior American and British officers to discuss the various lessons learned during the Libyan campaign. The focus of the meeting was a presentation by General Bernard Montgomery. This "gospel according to Montgomery," as it was referred to by Air Chief Marshal Arthur Tedder, set out very clearly Monty's beliefs on how air power should be used to support the army.1 Among the tenets Montgomery articulated was his conviction of the importance of air power: "Any officer who aspires to hold high command in war must understand clearly certain principles regarding the use of air power." Montgomery also believed that flexibility was the greatest asset of air power. This allowed it to be applied as a "battle-winning factor of the first importance." As well, he fully endorsed the air force view of centralized control: "Nothing could be more fatal to successful results than to dissipate the air resource into small packets placed under the control of army formation commanders, with each packet working on its own plan. The soldier must not expect, or wish, to exercise direct command over air striking forces." Montgomery concluded his discussion by stating that it was of prime importance for the army and air 1 Arthur Tedder, With Prejudice: The war memoirs of Marshal of the Royal Air Force, Lord Tedder (London: Cassell, 1966), p. -
Reflections on Pearl Harbor Anniversaries Past Roger Dingman University of Southern California
Reflections on Pearl Harbor Anniversaries Past Roger Dingman University of Southern California By any measure, the Japanese attack on Pearl Harbor was one of the decisive events of the twentieth century. For Americans, it was the greatest military disaster in memory-one which set them on the road to becoming the world's greatest military power. For Japanese, the attack was a momentary triumph that marked the beginning of their nation's painful and protracted transition from empire to economic colossus. Thus it is entirely appropriate, more than fifty years after the Pearl Harbor attack, to pause and consider the meaning of that event. One useful way of doing so is to look back on Pearl Harbor anniversaries past. For in public life, no less than in private, anniversaries can tell us where we are; prompt reflections on where we have been; and make us think about where we may be going. Indeed, because they are occa- sions that demand decisions by government officials and media man- agers and prompt responses by ordinary citizens about the relationship between past and present, anniversaries provide valuable insights into the forces that have shaped Japanese-American relations since 1941. On the first Pearl Harbor anniversary in December 1942, Japanese and Americans looked back on the attack in very different ways. In Tokyo, Professor Kamikawa Hikomatsu, one of Japan's most distin- guished historians of international affairs, published a newspaper ar- ticle that defended the attack as a legally and morally justifiable act of self-defense. Surrounded by enemies that exerted unrelenting mili- tary and economic pressure on it, and confronted by an America that refused accommodation through negotiation, Japan had had no choice but to strike.' On Guadalcanal, where they were locked in their first protracted battle against Japanese troops, Americans mounted a "hate shoot" against them to memorialize those who had died at Pearl Har- bor a year earlier.2 In Honolulu, the Advertiser editorial writer urged The ]journal of American-East Asian Relations, Vol. -
Washington, Thursday, January 15, 1942
FEDERAL REGISTER VOLUME 7 f\ i » 9 3 4 ^ NUMBER 10 c O a/ i t ì O ^ Washington, Thursday, January 15, 1942 The President shall be held for subsequent credit upon CONTENTS indebtedness to the Corporation, in ac cordance with the provisions of THE PRESIDENT EXECUTIVE ORDER §§ 12.3112-51 and 12.3112-52.* Executive Order: Pa6e *§§ 12.3112-50 to 12.3112-52, inclusive, Alaska, partial revocation of or Partial R evocation of Executive Order issued under the authority contained in 48 der withdrawing certain No. 6957 of F ebruary 4, 1935, W it h Stat. 344, 845; 12 U.S.C. §§ 1020, 1020a. public lands-------------------- 267 drawing Certain P ublic Lands § 12.3112-51 ' Interest; application of RULES, REGULATIONS, ALASKA conditional payments on indebtedness; ORDERS By virtue of the authority vested in disposition of unapplied conditional pay me by the act of June 25, 1910, c. 421, ments after payment of indebtedness in T itle 6—Agricultural Credit: 36 Stat. 847, Executive Order No. 6957 full. The provisions of §§ 10.387-51, Farm Credit Administration: of February 4, 1935, temporarily with 10.387-52, and 10.387-53,1 Part 10 of Title Federal Farm Mortgage Cor drawing certain lands in Alaska from ap 6, Code of Federal Regulations, dealing poration, conditional pay propriation under the public-land laws, with “Interest”, “Application of condi ments by borrowers------ 267 is hereby revoked as to the following- tional payments on indebtedness”, and Loans by production credit described tracts, in order to validate “Disposition of unapplied conditional associations, charges to homestead entry No. -
Henry S. Smith World War Ii Letters, 1943-1946
Collection # M 0939 HENRY S. SMITH WORLD WORLD WAR II LETTERS, 1943–1946 Collection Information Biographical Sketch Scope and Content Note Series Contents Cataloging Information Processed by Tyler Nowell September 2007 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org COLLECTION INFORMATION VOLUME OF Manuscript Materials: 1 document case COLLECTION: Visual Materials: 8 folders of photographs COLLECTION 1943–1946 (bulk 1944–1946) DATES: PROVENANCE: Charles, Kritsch, Indianapolis, Indiana, August 1999 RESTRICTIONS: None COPYRIGHT: REPRODUCTION Permission to reproduce or publish material in this collection RIGHTS: must be obtained from the Indiana Historical Society. ALTERNATE None FORMATS: RELATED HOLDINGS: ACCESSION 1999.0589 NUMBER: NOTES: BIOGRAPHICAL SKETCH Henry S. Smith was born on February 20, 1914 in Indiana. He married Alice Kritsch sometime in the late 1930s. Smith enlisted in the Unites States Army on March 3, 1944 to fight in World War II. When he enlisted he stated he had four years of high school and that his occupation was as a physical therapy technician or chain store manager. Smith served as a truck driver in C Company of the 136th Ordnance Maintenance Battalion, which was later changed to an Armored Ordnance Maintenance Battalion in April 1945. The battalion was in the 14th Armored Division, which was in the 7th Army for much of the war under General Alexander M. Patch. Late in the war the division was moved to the 3rd Army under General George Patton. Henry Smith was a private until early November 1944. At this time he was promoted to Technician Fifth (T/5), which is equal to a corporal. -
British Responses to the Holocaust
Centre for Holocaust Education British responses to the Insert graphic here use this to Holocaust scale /size your chosen image. Delete after using. Resources RESOURCES 1: A3 COLOUR CARDS, SINGLE-SIDED SOURCE A: March 1939 © The Wiener Library Wiener The © AT FIRST SIGHT… Take a couple of minutes to look at the photograph. What can you see? You might want to think about: 1. Where was the photograph taken? Which country? 2. Who are the people in the photograph? What is their relationship to each other? 3. What is happening in the photograph? Try to back-up your ideas with some evidence from the photograph. Think about how you might answer ‘how can you tell?’ every time you make a statement from the image. SOURCE B: September 1939 ‘We and France are today, in fulfilment of our obligations, going to the aid of Poland, who is so bravely resisting this wicked and unprovoked attack on her people.’ © BBC Archives BBC © AT FIRST SIGHT… Take a couple of minutes to look at the photograph and the extract from the document. What can you see? You might want to think about: 1. The person speaking is British Prime Minister Neville Chamberlain. What is he saying, and why is he saying it at this time? 2. Does this support the belief that Britain declared war on Germany to save Jews from the Holocaust, or does it suggest other war aims? Try to back-up your ideas with some evidence from the photograph. Think about how you might answer ‘how can you tell?’ every time you make a statement from the sources. -
First Hand Accounts of December 7, 1941 in Pearl Harbor
First Hand Accounts of December 7, 1941 in Pearl Harbor William Brown East Carolina University Faculty Mentor: Wade Dudley East Carolina University ABSTRACT This project involves researching and writing a narrative combining the first-hand accounts of sail- ors in the United States Navy at Pearl Harbor, Hawaii on December 7, 1941. The goal of the project is to gather the personal accounts provided in oral histories and to synthesize those into a narrative describing the emotions of that morning. This has been accomplished by examining the oral histories provided by five men who graduated from the United States Naval Academy in 1941 and survived the Japanese attack. A sixth account is provided by Lt. Alexander B. Coxe, Jr., who was the executive officer aboard the U.S.S Breese. Each individual perspective provides a different angle to the horror that surrounded Pearl Harbor on December 7, 1941. The research highlights the raw emotions as the Japanese planes flew above and the destruction and death surrounding these men. n the morning of December 7, by documenting their memory of the at- O 1941, the naval and aerial forces of tack. Each of these men graduated from the Japanese Empire secretly attacked the the United States Naval Academy in 1941 United States Navy at the naval base of with the newly bestowed rank of Ensign, Pearl Harbor, Hawaii. For over two hours, except for Lt. Coxe. These men would two waves consisting of over three hundred begin their naval careers with the defin- Japanese aircraft destroyed the Pacific Fleet ing moment of Pearl Harbor. -
Film Studies (FILM) 1
Film Studies (FILM) 1 FILM-115 World Cinema 3 Units FILM STUDIES (FILM) 54 hours lecture; 54 hours total This course will survey the historical, social, and artistic development FILM-100 Survey and Appreciation of Film 3 Units of cinema around the globe, introducing a range of international films, 54 hours lecture; 54 hours total movements, and traditions. This course is an introduction to the history and elements of filmmaking Transfers to both UC/CSU such as narrative, mise-en-scene, cinematography, acting, editing, and FILM-117 Director's Cinema 3 Units sound as well as approaches to film criticism. 54 hours lecture; 54 hours total Transfers to both UC/CSU This course examines the historical and artistic career of a seminal FILM-101 Introduction to Film Production 3 Units director in cinema history. Possible subjects include Martin Scorsese, 36 hours lecture; 54 hours lab; 90 hours total Alfred Hitchcock, Francis Ford Coppola, and Woody Allen. This course is designed to introduce you to the creative process Transfers to CSU only of filmmaking. We will study all aspects of production from the FILM-120 Horror Film 3 Units conceptualization of ideas and scripting, to the basic production 54 hours lecture; 54 hours total equipment and their functions, and finally the production and post- This course offers an in-depth examination of the popular horror film production processes. Assignments will emphasize visualization, through an analysis of its historical evolution, major theories, aesthetics shooting style, and production organization. Presentation of ideas in and conventions, and the impact of its role as a reflection of culture both the written word and visual media are integral to the production society. -
2Nd INFANTRY REGIMENT
2nd INFANTRY REGIMENT 1110 pages (approximate) Boxes 1243-1244 The 2nd Infantry Regiment was a component part of the 5th Infantry Division. This Division was activated in 1939 but did not enter combat until it landed on Utah Beach, Normandy, three days after D-Day. For the remainder of the war in Europe the Division participated in numerous operations and engagements of the Normandy, Northern France, Rhineland, Ardennes-Alsace and Central Europe campaigns. The records of the 2nd Infantry Regiment consist mostly of after action reports and journals which provide detailed accounts of the operations of the Regiment from July 1944 to May 1945. The records also contain correspondence on the early history of the Regiment prior to World War II and to its training activities in the United States prior to entering combat. Of particular importance is a file on the work of the Regiment while serving on occupation duty in Iceland in 1942. CONTAINER LIST Box No. Folder Title 1243 2nd Infantry Regiment Unit Histories January 1943-June 1944 2nd Infantry Regiment Unit Histories, July-October 1944 2nd Infantry Regiment Histories, July 1944- December 1945 2nd Infantry Regiment After Action Reports, July-September 1944 2nd Infantry Regiment After Action Reports, October-December 1944 2nd Infantry Regiment After Action Reports, January-May 1945 2nd Infantry Regiment Casualty List, 1944-1945 2nd Infantry Regiment Unit Journal, 1945 2nd Infantry Regiment Narrative History, October 1944-May 1945 2nd Infantry Regiment History Correspondence, 1934-1936 2nd Infantry