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It is the fall of 1950. The Marines have made a pivotal breakthrough at Inchon, but a roller coaster awaits them. While Douglas MacArthur chomps at the bit, intent on surging across the 38th parallel, Brigadier General Fleming Pickering works desperately to mediate the escalating battle between MacArthur and President Harry Truman. And somewhere out there, his own daredevil pilot son, Pick, is lost behind enemy lines--and may be lost forever.
The fascinating story of the 1st Marine Division and their epic battles during the Korean War is told in this superb combination of military and oral history. It's all here, their heroic fight through enemy forces to the Sea of Japan and their incredible triumph of courage, sacrifice and valor.
Author : Lawrence H. Suid Publisher : University Press of Kentucky Page : 770 pages File Size : 54,7 Mb Release : 2015-01-13 Category : History ISBN : 9780813158082
Guts and Glory: The Making of the American Military Image in Film is the definitive study of the symbiotic relationship between the film industry and the United States armed services. Since the first edition was published nearly two decades ago, the nation has experienced several wars, both on the battlefield and in movie theatres and living rooms at home. Now, author Lawrence Suid has extensively revised and expanded his classic history of the mutual exploitation of the film industry and the military, exploring how Hollywood has reflected and effected changes in America's image of its armed services. He offers in-depth looks at such classic films as Wings, Thirty Seconds Over Tokyo, The Longest Day, Patton, Top Gun, An Officer and a Gentleman, and Saving Private Ryan, as well as the controversial war movies The Green Berets, M*A*S*H, the Deer Hunter, Apocalypse Now, Platoon, Full Metal Jacket, and Born on the Fourth of July.
Combines professional insights along with the author's own experience and insights to speculate on how believers can make sense of their Christian faith when confronted with tragedy and suffering.
Hollywood and the Movies of the Fifties by Foster Hirsch Pdf
A fascinating look at Hollywood’s most turbulent decade and the demise of the studio system—set against the boom of the post–World War II years, the Cold War, and the atomic age—and the movies that reflected the seismic shifts Hollywood in the 1950s was a period when the film industry both set conventions and broke norms and traditions—from Cinerama, CinemaScope, and VistaVision to the epic film and lavish musical. It was a decade that saw the rise of the anti-hero; the smoldering, the hidden, and the unspoken; teenagers gone wild in the streets; the sacred and the profane; the revolution of the Method; the socially conscious; the implosion of the studios; the end of the production code; and the invasion of the ultimate body snatcher: the “small screen” television. Here is Eisenhower’s America—seemingly complacent, conformity-ridden revealed in Vincente Minnelli’s Father of the Bride, Walt Disney’s Cinderella, and Brigadoon, among others. And here is its darkening, resonant landscape, beset by conflict, discontent, and anxiety (The Man Who Knew Too Much, The Asphalt Jungle, A Place in the Sun, Touch of Evil, It Came From Outer Space) . . . an America on the verge of cultural, political and sexual revolt, busting up and breaking out (East of Eden, From Here to Eternity, On the Waterfront, Sweet Smell of Success, The Wild One, A Streetcar Named Desire, and Jailhouse Rock). An important, riveting look at our nation at its peak as a world power and at the political, cultural, sexual upheavals it endured, reflected and explored in the quintessential American art form.
Hegel's Theory of Madness by Daniel Berthold-Bond Pdf
This book shows how an understanding of the nature and role of insanity in Hegel's writing provides intriguing new points of access to many of the central themes of his larger philosophic project. Berthold-Bond situates Hegel's theory of madness within the history of psychiatric practice during the great reform period at the turn of the eighteenth century, and shows how Hegel developed a middle path between the stridently opposed camps of "empirical" and "romantic" medicine, and of "somatic" and "psychical" practitioners. A key point of the book is to show that Hegel does not conceive of madness and health as strictly opposing states, but as kindred phenomena sharing many of the same underlying mental structures and strategies, so that the ontologies of insanity and rationality involve a mutually illuminating, mirroring relation. Hegel's theory is tested against the critiques of the institution of psychiatry and the very concept of madness by such influential twentieth-century authors as Michel Foucault and Thomas Szasz, and defended as offering a genuinely reconciling position in the contemporary debate between the "social labeling" and "medical" models of mental illness.
Author : Bernard F. Dick Publisher : Univ. Press of Mississippi Page : 288 pages File Size : 48,6 Mb Release : 2016-03-14 Category : Performing Arts ISBN : 9781496805409
The Screen Is Red portrays Hollywood's ambivalence toward the former Soviet Union before, during, and after the Cold War. In the 1930s, communism combated its alter ego, fascism, yet both threatened to undermine the capitalist system, the movie industry's foundational core value. Hollywood portrayed fascism as the greater threat and communism as an aberration embraced by young idealists unaware of its dark side. In Ninotchka, all a female commissar needs is a trip to Paris to convert her to capitalism and the luxuries it can offer. The scenario changed when Nazi Germany invaded the Soviet Union in 1941, making Russia a short-lived ally. The Soviets were quickly glorified in such films as Song of Russia, The North Star, Mission to Moscow, Days of Glory, and Counter-Attack. But once the Iron Curtain fell on Eastern Europe, the scenario changed again. America was now swarming with Soviet agents attempting to steal some crucial piece of microfilm. On screen, the atomic detonations in the Southwest produced mutations in ants, locusts, and spiders, and revived long-dead monsters from their watery tombs. The movies did not blame the atom bomb specifically but showed what horrors might result in addition to the iconic mushroom cloud. Through the lens of Hollywood, a nuclear war might leave a handful of survivors (Five), none (On the Beach, Dr. Strangelove), or cities in ruins (Fail-Safe). Today the threat is no longer the Soviet Union, but international terrorism. Author Bernard F. Dick argues, however, that the Soviet Union has not lost its appeal, as evident from the popular and critically acclaimed television series The Americans. More than eighty years later, the screen is still red.
The 82nd Airborne Division - known as the "All-Americas" - parachuted into history as America's first airborne division to see combat. Always at the forefr
War and American Popular Culture by M. Paul Holsinger Pdf
Spanning more than 400 years of America's past, this book brings together, for the first time, entries on the ways Americans have mythologized both the many wars the nation has fought and the men and women connected with those conflicts. Focusing on significant representations in popular culture, it provides information on fiction, drama, poems, songs, film and television, art, memorials, photographs, documentaries, and cartoons. From the colonial wars before 1775 to our 1997 peacekeeper role in Bosnia, the work briefly explores the historical background of each war period, enabling the reader to place the almost 500 entries into their proper context. The book includes particularly large sections dealing with the popular culture of the American Revolution, the Civil War, the Indian Wars West of the Mississippi, World War II, and Vietnam. It has been designed to be a useful reference tool for anyone interested in America's many wars, to provide answers, to teach, to inspire, and most of all, to be enjoyed.
A wrenching and layered debut novel about a gay teen’s coming-of-age in the aftermath of his father’s suicide Colin’s family is dissolving in the aftermath of his father’s suicide. While his mother, Diane, retreats into therapy and cynicism, Colin clings to every shred of normal life. Awash with guilt, he casts about for someone to confide in: first his estranged grandfather, then a predatory science teacher. Shunned by his siblings and rejected by his homophobic best friend, Colin immerses himself in the notebooks his father left behind. Full of strange facts, lists, and historical anecdotes that neither Colin nor Diane can understand, the notebooks infect their worldview until they can no longer tell what’s real and what’s imagined. A novel of aching intensity, Some Hell shows how unspeakable tragedy shapes a life, and how imagination saves us from ourselves.
It is the fall of 1950. The Marines have made a pivotal breakthrough at Inchon, but a roller coaster awaits them. While Douglas MacArthur chomps at the bit, intent on surging across the 38th parallel, Brigadier General Fleming Pickering works desperately to mediate the escalating battle between MacArthur and President Harry Truman. And somewhere out there, his own daredevil pilot son, Pick, is lost behind enemy lines--and may be lost forever.
The Korean experience changed the way Americans viewed war. The lack of a clear-cut victory inspired filmmakers to try to make sense of fighting another country’s civil war and risking American lives for an unpopular cause. This filmography details more than 90 English-language films. Each entry includes complete cast and credit listings, a plot synopsis, evaluation, review snippets, and notice of video availability. This book places each film in its historical context, assesses the essential truthfulness of each film and evaluates its entertainment value, and discusses how—and why—Korean War films differ from other Hollywood war genres. Four appendices list the films by chronology; production company and studio; level of historical accuracy; and subject and theme. Additional appendices list films with incidental references to the Korean War; documentaries on the Korean War; and South Korean films about the war. Photographs, a bibliography, and an index are included.
The film critic’s sweeping analysis of American cinema in the Cold War era is both “utterly compulsive reading [and] majestic” in its “breadth and rigor” (Film Comment). An Army of Phantoms is a major work of film history and cultural criticism by leading film critic J. Hoberman. Tracing the dynamic interplay between politics and popular culture, Hoberman offers “the most detailed year-by-year look at Hollywood during the first decade of the Cold War ever published, one that takes film analysis beyond the screen and sets it in its larger political context” (Los Angeles Review of Books). By “tell[ing] the story not just of what’s on the screen but of what played out behind it,” Hoberman demonstrates how the nation’s deep-seated fears and wishes were projected onto the big screen. In this far-reaching work of historical synthesis, Cecil B. DeMille rubs shoulders with Douglas MacArthur, atomic tests are shown on live TV, God talks on the radio, and Joe McCarthy is bracketed with Marilyn Monroe (The American Scholar). From cavalry Westerns to apocalyptic sci-fi flicks, and biblical spectaculars; from movies to media events, congressional hearings and political campaigns, An Army of Phantoms “remind[s] you what criticism is supposed to be: revelatory, reflective and as rapturous as the artwork itself” (Time Out New York). “An epic . . . alternately fevered and measured account of what might be called the primal scene of American cinema.” —Cineaste “There’s something majestic about the reach of Hoberman’s ambitions, the breadth and rigor of his research, and especially the curatorial vision brought to historical data.” —Film Comment
Author : Douglas A. Cunningham,John C. Nelson Publisher : John Wiley & Sons Page : 471 pages File Size : 48,5 Mb Release : 2016-05-31 Category : Performing Arts ISBN : 9781118288894
A Companion to the War Film by Douglas A. Cunningham,John C. Nelson Pdf
A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today’s digital culture. Includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film Moves beyond the limited confines of “the combat film” to cover home-front films, international and foreign language films, and a range of conflicts and time periods Addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty Provides a nuanced vision of war film that brings the genre firmly into the 21st Century and points the way for exciting future scholarship