(2115,42,'2011-11-21 18:22:53','2011-11-22 00:22:53','<div class=\"mceTemp mceIEcenter\">\n<p dir=\"LTR\" align=\"CENTER\">Here is the theme song for M*A*S*H. \"Suicide Is Painless\" , by Johnny Mandel, was used as an instrumental at the beginning of the movie and then played on a guitar with the words in this scene. \"Jawbreaker is unable to have sex with a gorgeous nurse and decides that it is probably because he has always been gay. He believes his life will be too hard if he has to live it as a gay man and decides to commit suicide. The three star surgeons of the movie intervene at the chaplain’s request and stage a fake suicide for him by giving him a \"Last Supper\" and giving him the \"Black Pill\".  To hear the entire song and see the a portion of the scene, go to the link below.  The entire clip is less than 3 minutes.</p>\n<a href=\"http://www.youtube.com/watch?v=BVUXPjFWfX4\">http://www.youtube.com/watch?v=BVUXPjFWfX4</a>\n\n&nbsp;\n\n&nbsp;\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H has three important lessons that it is imperative that we preserve for the future. The first is that humor is a formidable weapon. The second is that all of us have the free will and responsibility to question authority. Third, \"there are no victors in war, only victims\" (Fiero, 418). Throughout the film images of the real life results of war and the way that a M*A*S*H unit during the Korean war deals with the fallout are juxtaposed. No matter  where human beings go, we carry the potential for violence. Our people, generation after generation need to learn and remember that they cannot be sheep in the play of life. They must always use humor and compassion to question authority and to reach a consensus among themselves.</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was originally a book written by Richard Hooker about his real-life experiences as a surgeon during the Korean War. It was entitled \"MASH: A Novel About Three Army Doctors\". During the Korean War, surgeons and medical personnel were in short supply, so they were drafted into the United States Army to serve overseas. Some of them ended up in Mobile Army Surgical Hospitals (M.A.S.H. for short). Typically, these units set up in tents and removable buildings within three to five miles of the front lines.</p>\n<p dir=\"LTR\" align=\"LEFT\">Ring Lardner read the book and was inspired to write the screenplay. \"Fifteen Hollywood directors turned down making it (a movie) because, they felt that the screenplay lacked the necessary coherence to give the movie a clear and strong narrative momentum\" (Monaco, 197-198). Stanley Kubrick was among the directors who rejected it (Gilby, 122). Robert Altman read the script, loved it and elected to direct it for Twentieth Century Fox. M*A*S*H was released to the public in 1970.</p>\n<p dir=\"LTR\" align=\"LEFT\">The movie starred Donald Sutherland as \"Hawkeye\", Elliott Gould as \"Trapper John\" and Tom Skerritt as Duke. These three young and rather inexperienced new faces, at the time, played the drafted surgeons who are the main characters in the movie. The story follows them through short vignettes of serious surgery followed by short scenes of the way they try to maintain their sanity in an insane situation called war. One short section of the film may highlight the surgeons hands inside the chest cavity of a wounded soldier. The next scene might be the set-up of \"Hot Lips\" Houlihan, played by Sally Kellerman, to settle a bet between the surgeons. They want to find out if \"Hot Lips\" is a natural blond. At all times, the film highlights the dysfunction of the army and the rebellious behavior of the young doctors who know they are above reprimand because they are too valuable for the army to discipline. Even though the doctors act in sacrilegious and disrespectful ways, they maintain their respect for human life. Their medical oaths are taken seriously for everyone, no matter which side of the conflict they come from. Scenes of silliness and hilarity are interrupted by incoming helicopters bearing the wounded.</p>\n<p dir=\"LTR\" align=\"LEFT\">\"By the 1960’s, the events of a war in the jungles of Vietnam were being relayed via electronic satellite in American living rooms. \"In 1969, in a live telecast, the world saw the first astronauts walk on the surface of the moon\" (Fiero, 479). In South Africa, Christian Barnard performed the first heart-transplant surgery in 1967. But, despite the technological advances of the Information Age and the hopes they engendered, the mood in the United States was gloomy. \"Named the \"Me Decade\" by journalist Tom Wolfe in 1976, the 1970’s were seen as a time of growing individuality and diminished civic engagement.\" \"Economically, politically, and socially, the decade was marked by growing cynicism and uncertainty as Americans questioned the integrity of their political leaders and institutions\" (Batchelor). The economy was slowing down, unemployment was increasing and all around were people, young people in particular, who were growing more disillusioned and dissatisfied with the role the United States was playing in Vietnam. Protests, spearheaded by students who didn’t believe in the \"civil action\" but, could be drafted to fight and die at any time, bloomed on college campuses nationwide.</p>\n<p dir=\"LTR\" align=\"LEFT\">This climate of disillusionment and cynicism propagated a form of writing that grew popular in the 1960’ and 70’s. Satire and sarcasm were used to make fun of institutions and individuals. \"Gallows humor evoked laughter at what was hideous and awful\" (Fiero, 418). Much of the fiction of the time focussed on the depersonalization of the individual and the ability of humans to destroy each other. \"Catch 22\", a book written by Joseph Heller (1923-1999) in 1955, was one of the first of this genre. In it, \"Heller describes \"the humbug hypocrisy, cruelty and sheer stupidity of our mass society\" (Fiero, 418). Out of this tradition comes the movie M*A*S*H.</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H, as directed by Robert Altman, was produced with the same philosophy that Heller used fifteen years earlier in his book. As the characters in M*A*S*H \"try to preserve their identity and their sanity, they became the enemies of the very authorities that sent them to war\". (Fiero, 419) \"Altman was known at the time, in the industry, as a brash and loud-mouthed liberal who voiced a strong contempt for authority\" (Monaco, 198).</p>\n<p dir=\"LTR\" align=\"LEFT\">As heard in an interview with Altman and others, (included in the Collectors Edition of M*A*S*H in 2005), Altman made the movie a deliberate protest against the \"war in Vietnam and war in general\". (Fiero, 495) Altman and the people that helped him film the movie, lived in fear that Twentieth Century Fox would find out what they were really doing and shut them down. Twentieth Century believed that it as a war movie that had some laughs in it. Altman hid all references to Korea in the film. In one scene that visits a supposed village in Korea, Altman has extras wearing the conical hats that are worn in Vietnam and not in Korea.  (M*A*S*H: Collectors Edition, 2) Altman produced M*A*S*H as an anti-war film.</p>\n<p dir=\"LTR\" align=\"LEFT\">The art of film-making is constantly evolving. 1970 was no different in this respect. Altman’s contribution to the world of movies is called \"overlaid\" sound. At the opening of the movie are two lines of overlapping dialogue spoken at the same time. During the movie, background noises and conversations overlapping, birds singing and jets flying over are audible. The camp loud-speaker may be heard to announce that a movie will be shown that evening or blare Japanese takeoffs on American swing music while the main character is speaking. The colonel and Radar often speak the same lines at nearly the same time.  Radar always speaks just ahead of the colonel This underscores the confusion about who is really in charge. Altman’s innovation produced a more true to life experience and helped emphasize the points he wanted to make. Hearing ten different conversations in the surgery, while young soldiers hang between life and death on tables and hands and fingers work to save them, adds to the chaos and confusion. Hearing a jet fly over, during an otherwise silly conversation, reminds the viewer of where the speakers are and the seriousness of why they are there. Those jets are carrying bombs. People are going to die.</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was filmed near Santa Monica, California. Altman hired a cast of improvisational actors he found performing at a nearby theatre to play the extras in his movie. They were encouraged to make conversation as their characters might if it were a real situation. Altman allowed the actors to improvise on the spot. Ring Larder, Jr. was heard more that once, yelling at Altman because Altman wasn’t following Lardner’s script. Altman \"used long lenses, slow zooms and tiny microphones to ambush his performers  -  to catch them accidentally being natural\" (Gilby 123).</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was an instant success when it hit movie theaters in 1970. \"That M*A*S*H was\" Altman’s \"breakthrough movie had as much to do with synchronicity as quality.\" (Gilby, 122) The time was ripe for a movie that Fiero wrote was a \"biting satire on war in general\" and classified it with others in a genre she called \"Social Conscience\" films. (Fiero, 495) M*A*S*H was a nominee at the Oscars for best picture and best film editing in 1971. Ring Lardner, Jr. won an Oscar for best screen writing. \"A popular television series, part comedy and part drama, also named M*A*S*H, spun off from the film\" (Roman) and ran from 1972 until 1984; twelve years.</p>\n<p dir=\"LTR\" align=\"LEFT\">I saw the movie, in a theater, in 1970. I was a high school student in my Junior year. I had read Time magazine and seen the news. I knew about the protests against the war. Everywhere were signs that the Information Age was having a profound effect on our society and way of life. When I came out of that movie I was beyond words. The amount of blood, the broken bodies of young men, the sexual freedom and independence of the nurses, the complete disregard for army authority and the constant chaos of helicopters, loud-speakers and over-lapping conversations shocked me. I was forever changed by the depictions of a surgical arena filled with surgeons and their patients, the shortages of medical supplies, and the honest caring of the doctors for those who came to be on their tables. James Roman wrote it for me in his article entitled M*A*S*H. \"War is never pretty and its visual imagery is fraught with controversy and concern. Altman (bathed) his satire within the context of humor, which makes an even more profound statement on the destructiveness of these ritualistic moral constructs. It (M*A*S*H) is a timeless portrait of disdain for the ineptness of leadership and the costs endured.\" I could not have said that at the time, but I did know it on some level when I came out of that theater back in 1970. In vivid, bloody color, Altman’s humor had taught me what my life experience hadn’t gotten to yet.</p>\n<p dir=\"LTR\" align=\"LEFT\">In 1931 Charles Chaplin (1889-1977) took a tour around the world. He visited many countries including Germany. He became very concerned with what he saw. He said he wrote \"The Great Dictator\" (1940) because, he couldn’t write anything else at the time.  He said, \"And now another war was brewing and I was trying to write a story for Paulette (Paulette Goddard, a popular young actress of the time and also an ex-wife of Chaplin’s) but, I could make no progress. How could I throw myself into feminine whimsy or think of romance...when madness was being stirred up by a hideous, grotesque, Adolph Hitler\" He later wrote that \"Had I known of the actual horrors of the German concentration camps, I could not have made \"The Great Dictator\"; I could not have made fun of the homicidal insanity of the Nazis.\" (Vance, 236)</p>\n<p dir=\"LTR\" align=\"LEFT\">The United States’ attitude, during the 1930’s was one of conciliation and appeasement. Hollywood was afraid of insulting the Germans, because they didn’t want to lose the German market. Maybe, Chaplin made the movie as a reaction to a piece of German propaganda that reached him. The propaganda called him a Jew and a bore, Chaplin wrote, starred in and directed the film despite Hollywood’s reticence.</p>\n<p dir=\"LTR\" align=\"LEFT\">People had noticed Chaplin’s likeness to Hitler for a long time. It was rumored that Hitler adopted Chaplin’s mustache because of Chaplin’s well loved character in \"The Tramp\". Giant X’s replace the swastikas and Chaplin’s character’s name was Adenoid Hynkel, dictator of Tomania. Chaplin made his opinions known by choosing actors who closely resembled Hitler’s top aides and then naming them Herring and Garbitsch. (Vance, 240)</p>\n<p dir=\"LTR\" align=\"LEFT\">\"The Great Dictator\" is a tale of two worlds: the palace, where the dictator rules, and the ghetto, where the Jewish barber lives.\" \"The comedic device in the film is the resemblance between the dictator and the barber.\" \"The theme of the story, at its  basic level is the struggle between good and evil\" (Vance, 240) Both M*A*S*H and \"The Great Dictator\" are meant to be pointed jabs at wars and the human machinery that cause wars. \"The Great Dictator\" was made before the United States got involved with WWII. M*A*S*H was made while the U.S. was embroiled in conflicts in Vietnam. While Chaplin directly satirized Hitler and his cohorts. Altman chose quips and keystone cop-like antics to make fun of the \"brass\". Charlie Chaplin’s story is about good and evil and portray Hynkel as evil. Altman’s movie chooses a broader brush and paints with a lot of gray, the various personalities that are found on any army base. While Chaplin gives Hitler a direct hit, Altman skirts around issues and gives glimpses of his opinions by using only the visual shots of the surgery itself to bring his pointst home. One of the memorable lines from \"The Great Dictator\" is, \"life would be wonderful if people would leave you alone\". In M*A*S*H, \"Hot Lips\" Houlihan asks how such a disrespectful and unmilitary man could be promoted to Head Surgeon. A corpsman on the side is heard to say, \"He was drafted.\"</p>\n<p dir=\"LTR\" align=\"LEFT\">Chaplin took whatever information he had about Hitler and then exagerated it so that it was a close approximation to the reality, but twisted and misnamed, to expose it to ridicule. Altman chose scenes of blood and gore, men moaning and crying out, overlaid by a the loud-speaker announcing that \"marijuana is a dangerous drug.\" Chaplin’s humor was up front and in your face. It was typical of the era, when people didn’t quite know yet how to watch a movie and they were treated that way. Altman’s films require thinking and noticing the details. So much of what Altman did is packed and overlaid so densely with lines and symbols that it requires more than one viewing to understand the full significance of what is happening in any one scene. Chaplin’s film seems simple in comparison. Both of the movies use slapstick comedy.</p>\n<p style=\"text-align: left\">A copy of M*A*S*H, and in particular \"M*A*S*H: Collectors Edition\", should be included in the 2100 Time Capsule. It’s method of production and humor are timeless. The message is one that should be repeated over and over. People who have been through a war often believe in their side of the story, but they seem to forget very quickly what this type of engagement costs everyone. When the message is presented in visual form, with the humor aimed at those who keep the machinery of war well oiled, the moral of the story cannot be forgotten. Our children, and all the generations to come, need a reminder of where we come from and why. They need to always be mindful that as Fiero writes, \"There are no victors in war, only victims.\" Human beings, who leave this Earth in the 2100 Space Capsule, need to question authority, debate everything, come to a consensus of opinion and always, always, keep a sense of humor about it all.  M*A*S*H can be a lesson and reminder to future generations. It must be included in the 2100 Time Capsule.</p>\n<p style=\"text-align: left\"></p>\n<p dir=\"LTR\" align=\"CENTER\">Works Cited</p>\n<p dir=\"LTR\" align=\"LEFT\">Batchelor, Bob. \"Introduction to the 1970’s (Overview).\" <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. <em>The Humanistic Tration: The Early Modern World to the Present</em>. 6th Ed. Boston: McGraw Hill. 2011. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">Gilbey, Ryan <em>It Don’t Worry Me: The Revolutioary American Films of the Seventies </em>New York: Faber and Faber, Inc. 3002. Print. \"Plot summary for MASH\" <em>IMDb</em> Amazon.com, n.d. Web. 6 Nov. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H:Collectors Edition.</p>\n<p dir=\"LTR\" align=\"LEFT\">Dir. Robert Altman. Perf. Donald Sutherland, Elliott Gould, Tom Skerritt and Sally Kellerman. 1969 Twentieth Century Fox, 2005 DVD. Two Disc Set.</p>\n<p dir=\"LTR\" align=\"LEFT\">Monaco, Paul. <em>History of American Movies: A Film-By-Film Look At The Art, Craft, and Business Of Cinema</em>. Scarecrow Press, 2010. eBook Collection <em>(EBSCOhost). </em>Web. 6 Nov. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Roman, James. \"M*A*S*H(Film, 1970) <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Vance, Jeffrey. <em>Chaplin: genius of the cinema </em>New York: Harry N. Abrams. 2003. Print.</p>\n&nbsp;\n\n</div>','M*A*S*H: The Movie','','inherit','open','open','','2113-revision','','','2011-11-21 18:22:53','2011-11-22 00:22:53','',2113,'http://jeanatacc.com/2011/?p=2115',0,'revision','',0),(2116,42,'2011-11-21 19:02:40','2011-11-22 01:02:40','<div class=\"mceTemp mceIEcenter\">\n<div class=\"mceTemp mceIEcenter\">\n\n[caption id=\"attachment_2114\" align=\"aligncenter\" width=\"193\" caption=\"A promotional poster for the movie found at: http://www.mash4077tv.com/category/mash-the-movie/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/mash_ad_1970.jpg\"><img class=\"size-medium wp-image-2114\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/mash_ad_1970-193x300.jpg\" alt=\"Promotional Poster for M*A*S*H\" width=\"193\" height=\"300\" /></a>[/caption]\n\n</div>\n<p dir=\"LTR\" align=\"CENTER\"><!--more--></p>\n<p dir=\"LTR\" align=\"CENTER\">Here is the theme song for M*A*S*H. \"Suicide Is Painless\", by Johnny Mandel. It was used as an instrumental at the beginning of the movie and then sung with the words to a guitar accompaniment in this scene. \"Jawbreaker\" is unable to have sex with a gorgeous nurse and decides that it is probably because he has always been gay. He believes his life will be too hard if he has to live it as a gay man and decides to commit suicide. The three star surgeons of the movie intervene at the chaplain’s request and stage a fake suicide for him by giving him a \"Last Supper\" and the \"Black Pill\".  To hear the entire song and see a portion of the scene, go to the link below.  The entire clip is less than 3 minutes.</p>\n<a href=\"http://www.youtube.com/watch?v=BVUXPjFWfX4\">http://www.youtube.com/watch?v=BVUXPjFWfX4</a>\n\n&nbsp;\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H has three important lessons that it is imperative that we preserve for the future. The first is that humor is a formidable weapon. The second is that all of us have the free will and responsibility to question authority. Third, \"there are no victors in war, only victims\" (Fiero, 418). Throughout the film, images of the real life results of war and the way that a M*A*S*H unit during the Korean war deals with the fallout are juxtaposed. No matter  where human beings go, we carry the potential for violence. Our people, generation after generation need to learn and remember that they cannot be sheep in the play of life. They must always use humor and compassion to question authority and to reach a consensus among themselves. They must never forget the results of war.</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was originally a book written by Richard Hooker about his real-life experiences as a surgeon during the Korean War. It was entitled \"MASH: A Novel About Three Army Doctors\". During the Korean War, surgeons and medical personnel were in short supply, so they were drafted into the United States Army to serve overseas. Some of them ended up in Mobile Army Surgical Hospitals (M.A.S.H. for short). Typically, these units set up in tents and removable buildings within three to five miles of the front lines.</p>\n<p dir=\"LTR\" align=\"LEFT\">Ring Lardner read the book and was inspired to write the screenplay. \"Fifteen Hollywood directors turned down making it (a movie) because, they felt that the screenplay lacked the necessary coherence to give the movie a clear and strong narrative momentum\" (Monaco, 197-198). Stanley Kubrick was among the directors who rejected it (Gilby, 122). Robert Altman read the script, loved it and elected to direct it for Twentieth Century Fox. M*A*S*H was released to the public in 1970.</p>\n<p dir=\"LTR\" align=\"LEFT\">The movie starred Donald Sutherland as \"Hawkeye\", Elliott Gould as \"Trapper John\" and Tom Skerritt as Duke. These three young and rather inexperienced new faces, at the time, played the drafted surgeons who were the main characters in the movie. The story follows them through short vignettes of serious surgery followed by short scenes of the way they try to maintain their sanity in an insane situation called war. One short section of the film may highlight the surgeons hands inside the chest cavity of a wounded soldier. The next scene might be the set-up of \"Hot Lips\" Houlihan, played by Sally Kellerman, to settle a bet between the surgeons. They want to find out if \"Hot Lips\" is a natural blond. At all times, the film highlights the dysfunction of the army and the rebellious behavior of the young doctors who know they are above reprimand because they are too valuable for the army to discipline. Even though the doctors act in sacrilegious and disrespectful ways, they maintain their respect for human life. Their medical oaths are taken seriously for everyone, no matter which side of the conflict they come from. Scenes of silliness and hilarity are interrupted by incoming helicopters bearing the wounded.</p>\n<p dir=\"LTR\" align=\"LEFT\">\"By the 1960’s, the events of a war in the jungles of Vietnam were being relayed via electronic satellite in American living rooms.\" \"In 1969, in a live telecast, the world saw the first astronauts walk on the surface of the moon\" (Fiero, 479). In South Africa, Christian Barnard performed the first heart-transplant surgery in 1967. But, despite the technological advances of the Information Age and the hopes they engendered, the mood in the United States was gloomy. \"Named the \"Me Decade\" by journalist Tom Wolfe in 1976, the 1970’s were seen as a time of growing individuality and diminished civic engagement.\" \"Economically, politically, and socially, the decade was marked by growing cynicism and uncertainty as Americans questioned the integrity of their political leaders and institutions\" (Batchelor). The economy was slowing down, unemployment was increasing and all around were people, young people in particular, who were growing more disillusioned and dissatisfied with the role the United States was playing in Vietnam. Protests, spearheaded by students who didn’t believe in the \"civil action\" but, could be drafted to fight and die at any time, bloomed on college campuses nationwide.</p>\n<p dir=\"LTR\" align=\"LEFT\">This climate of disillusionment and cynicism propagated a form of writing that grew popular in the 1960’s and 70’s. Satire and sarcasm were used to make fun of institutions and individuals. \"Gallows humor evoked laughter at what was hideous and awful\" (Fiero, 418). Much of the fiction of the time focused on the depersonalization of the individual and the ability of humans to destroy each other. \"Catch 22\", a book written by Joseph Heller (1923-1999) in 1955, was one of the first of this genre. In it, \"Heller describes \"the humbug hypocrisy, cruelty and sheer stupidity of our mass society\" (Fiero, 418). Out of this tradition comes the movie M*A*S*H.</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H, as directed by Robert Altman, was produced with the same philosophy that Heller used fifteen years earlier in his book. As the characters in M*A*S*H \"try to preserve their identity and their sanity, they became the enemies of the very authorities that sent them to war\". (Fiero, 419) \"Altman was known at the time, in the industry, as a brash and loud-mouthed liberal who voiced a strong contempt for authority\" (Monaco, 198).</p>\n<p dir=\"LTR\" align=\"LEFT\">As heard in an interview with Altman and others, (included in the Collectors Edition of M*A*S*H in 2005), Altman made the movie a deliberate protest against the \"war in Vietnam and war in general\". (Fiero, 495) Altman and the people that helped him film the movie, lived in fear that Twentieth Century Fox would find out what they were really doing and shut them down. Twentieth Century believed that it was a war movie that had some laughs in it. Altman hid all references to Korea in the film. In one scene, that visits a supposed village in Korea, Altman has extras wearing the conical hats that are worn in Vietnam and not in Korea.  (M*A*S*H: Collectors Edition, 2) Altman produced M*A*S*H as an anti-war film.</p>\n<p dir=\"LTR\" align=\"LEFT\">The art of film-making is constantly evolving. 1970 was no different in this respect. Altman’s contribution to the world of movies is called \"overlaid\" sound. At the opening of the movie are two lines of overlapping dialogue spoken at the same time. During the movie, background noises and conversations overlap, birds singing and jets flying over are audible. The camp loud-speaker may be heard to announce that a movie will be shown that evening or blare Japanese takeoffs on American swing music while the main character is speaking. The colonel and Radar often speak the same lines at nearly the same time.  Radar always speaks just ahead of the colonel This underscores the confusion about who is really in charge. Altman’s innovation produced a more true to life experience and helped emphasize the points he wanted to make. Hearing ten different conversations in the surgery, while young soldiers hang between life and death on tables and surgeions hands work to save them, adds to the chaos and confusion. Hearing a jet fly over, during an otherwise silly conversation, reminds the viewer of where the speakers are and the seriousness of why they are there. Those jets are carrying bombs. People are going to die.</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was filmed near Santa Monica, California. Altman hired a cast of improvisational actors he found performing at a nearby theatre to play the extras in his movie. They were encouraged to make conversation as their characters might if it were in a real situation. Altman allowed the actors to improvise on the spot. Ring Larder, Jr. was heard more that once, yelling at Altman because, Altman wasn’t following Lardner’s script. Altman \"used long lenses, slow zooms and tiny microphones to ambush his performers  -  to catch them accidentally being natural\" (Gilby 123).</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was an instant success when it hit movie theaters in 1970. \"That M*A*S*H was\" Altman’s \"breakthrough movie had as much to do with synchronicity as quality.\" (Gilby, 122) The time was ripe for a movie that Fiero wrote was a \"biting satire on war in general\" and classified it with others in a genre she called \"Social Conscience\" films. (Fiero, 495) M*A*S*H was a nominee at the Oscars for best picture and best film editing in 1971. Ring Lardner, Jr. won an Oscar for best screen writing. \"A popular television series, part comedy and part drama, also named M*A*S*H, spun off from the film\" (Roman) and ran from 1972 until 1984; twelve years.</p>\n<p dir=\"LTR\" align=\"LEFT\">I saw the movie, in a theater, in 1970. I was a high school student in my Junior year. I had read Time magazine and seen the news. I knew about the protests against the war. Everywhere were signs that the Information Age was having a profound effect on our society and way of life. When I came out of that movie I was beyond words. The amount of blood, the broken bodies of young men, the sexual freedom and independence of the nurses, the complete disregard for army authority and the constant chaos of helicopters, loud-speakers and over-lapping conversations shocked me. I was forever changed by the depictions of a surgical arena filled with surgeons and their patients, the shortages of medical supplies, and the honest caring of the doctors for those who came to be on their tables. James Roman wrote it for me in his article entitled M*A*S*H. \"War is never pretty and its visual imagery is fraught with controversy and concern. Altman (bathed) his satire within the context of humor, which makes an even more profound statement on the destructiveness of these ritualistic moral constructs. It (M*A*S*H) is a timeless portrait of disdain for the ineptness of leadership and the costs endured.\" I could not have said that, at the time but, I did know it on some level when I came out of that theater back in 1970. In vivid, bloody color, Altman’s humor had taught me what my life experience hadn’t gotten to yet.</p>\n<p dir=\"LTR\" align=\"LEFT\">In 1931 Charles Chaplin (1889-1977) took a tour around the world. He visited many countries including Germany. He became very concerned with what he saw. He said he wrote \"The Great Dictator\" (1940) because, he couldn’t write anything else at the time.  He said, \"And now another war was brewing and I was trying to write a story for Paulette (Paulette Goddard, a popular young actress of the time and also an ex-wife of Chaplin’s) but, I could make no progress. How could I throw myself into feminine whimsy or think of romance...when madness was being stirred up by a hideous, grotesque, Adolph Hitler\" He later wrote that \"Had I known of the actual horrors of the German concentration camps, I could not have made \"The Great Dictator\"; I could not have made fun of the homicidal insanity of the Nazis.\" (Vance, 236)</p>\n<p dir=\"LTR\" align=\"LEFT\">The United States’ attitude, during the 1930’s was one of conciliation and appeasement. Hollywood was afraid of insulting the Germans, because they didn’t want to lose the German market. Maybe, Chaplin made the movie as a reaction to a piece of German propaganda that reached him. The propaganda called him a Jew and a bore. Chaplin proceeded to write, direct and star in \"The Great Dictator\"  despite Hollywood’s reticence.\"The Great Dictator\" is a tale of two worlds: the palace, where the dictator rules, and the ghetto, where the Jewish barber lives.\" \"The comedic device in the film is the resemblance between the dictator and the barber.\"  People had noticed Chaplin’s likeness to Hitler for a long time. It was rumored that Hitler adopted Chaplin’s mustache because of Chaplin’s well loved character in \"The Tramp\". Giant X’s replace the swastikas and Chaplin’s character’s name was Adenoid Hynkel, dictator of Tomania. \"The theme of the story, at its basic level was the struggle between good and evil\" (Vance, 240)</p>\n<p dir=\"LTR\" align=\"LEFT\">Both M*A*S*H and \"The Great Dictator\" are meant to be pointed jabs at wars and the human machinery that cause wars. \"The Great Dictator\" was made before the United States got involved with WWII. M*A*S*H was made while the U.S. was embroiled in conflicts in Vietnam. While Chaplin directly satirized Hitler and his cohorts. Altman chose quips and keystone cop-like antics to make fun of the \"brass\". Charlie Chaplin’s story is about good and evil and portrays Hynkel as idiotic and evil. Altman’s movie chooses a broader brush and paints with a lot of gray the various personalities that are found on any army base. While Chaplin gives Hitler a direct hit, Altman skirts around issues and gives glimpses of his opinions by using only the visual shots of the surgery itself to bring his points home. One of the memorable lines from \"The Great Dictator\" is, \"life would be wonderful if people would leave you alone\". In M*A*S*H, \"Hot Lips\" Houlihan asks how such a disrespectful and unmilitary man could be promoted to Head Surgeon. A corpsman on the side is heard to say, \"He was drafted.</p>\n<p dir=\"LTR\" align=\"LEFT\">Chaplin made his opinions known by choosing actors who closely resembled Hitler’s top aides and then naming them Herring and Garbitsch. (Vance, 240) Chaplin took whatever information he had about Hitler and then exagerated it so that it was a close approximation to the reality, but twisted it and misnamed it, to expose it to ridicule. Altman chose scenes of blood and gore, men moaning and crying out, overlaid by a the loud-speaker announcing that \"marijuana is a dangerous drug.\" Chaplin’s humor was up front and in your face. It was typical of the era. People didn’t quite know yet how to watch a movie and they were treated that way. Altman’s films require thinking and noticing the details. So much of what Altman did is packed and overlaid so densely with lines and symbols, that it requires more than one viewing to understand the full significance of what is happening in any one scene. Chaplin’s film seems simple in comparison. Both of the movies use slapstick comedy.</p>\n<p style=\"text-align: left\">A copy of M*A*S*H, and in particular \"M*A*S*H: Collectors Edition\", should be included in the 2100 Time Capsule. It’s method of production and humor are timeless. The message is one that should be repeated over and over. People who have been through a war believe in their side of the story, but they seem to forget very quickly what this type of engagement costs everyone. When the message is presented in visual form, with the humor aimed at those who keep the machinery of war well oiled, the moral of the story cannot be forgotten. Our children, and all the generations to come, need a reminder of where we come from and why. They need to always be mindful that as Fiero writes, \"There are no victors in war, only victims.\" Human beings, who leave this Earth in the 2100 Space Capsule, need to question authority, debate everything, come to a consensus of opinion and always, always, keep a sense of humor about it all.  They must never forget the results of war. M*A*S*H can be a lesson and reminder to future generations. It must be included in the 2100 Time Capsule.</p>\n<p dir=\"LTR\" align=\"CENTER\">Works Cited</p>\n<p dir=\"LTR\" align=\"LEFT\">Batchelor, Bob. \"Introduction to the 1970’s (Overview).\" <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. <em>The Humanistic Tration: The Early Modern World to the Present</em>. 6th Ed. Boston: McGraw Hill. 2011. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">Gilbey, Ryan <em>It Don’t Worry Me: The Revolutioary American Films of the Seventies </em>New York: Faber and Faber, Inc. 3002. Print. \"Plot summary for MASH\" <em>IMDb</em> Amazon.com, n.d. Web. 6 Nov. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H:Collectors Edition.</p>\n<p dir=\"LTR\" align=\"LEFT\">Dir. Robert Altman. Perf. Donald Sutherland, Elliott Gould, Tom Skerritt and Sally Kellerman. 1969 Twentieth Century Fox, 2005 DVD. Two Disc Set.</p>\n<p dir=\"LTR\" align=\"LEFT\">Monaco, Paul. <em>History of American Movies: A Film-By-Film Look At The Art, Craft, and Business Of Cinema</em>. Scarecrow Press, 2010. eBook Collection <em>(EBSCOhost). </em>Web. 6 Nov. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Roman, James. \"M*A*S*H(Film, 1970) <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Vance, Jeffrey. <em>Chaplin: genius of the cinema </em>New York: Harry N. Abrams. 2003. Print.</p>\n&nbsp;\n\n</div>','M*A*S*H: The Movie','','inherit','open','open','','2113-autosave','','','2011-11-21 19:02:40','2011-11-22 01:02:40','',2113,'http://jeanatacc.com/2011/?p=2116',0,'revision','',0),(2118,43,'2011-11-21 18:46:48','2011-11-22 00:46:48','<p style=\"text-align: center\" align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster.jpg\"><img class=\"aligncenter size-medium wp-image-2119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster-185x300.jpg\" alt=\"\" width=\"185\" height=\"300\" /></a><a href=\"http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500\">http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500</a></p>\r\n<p style=\"text-align: center\" align=\"center\">And a link to the shower scene: <a href=\"http://www.youtube.com/watch?v=8VP5jEAP3K4\">http://www.youtube.com/watch?v=8VP5jEAP3K4</a></p>\r\n<p style=\"text-align: left\" align=\"center\">Alfred Hitchcock’s <em>Psycho</em> (1960) is hailed as the first “modern” horror film (Schneider). This film is about a young woman, Marion living in Phoenix, wanting to marry and start a new life with her lover, Sam, in California.<!--more--> When she gets the money (by stealing), she drives to California while along the way, she pulls into The Bates Motel, which is managed by Norman. She is murdered in the infamous shower scene, by which we believe is Norman’s jealous mother, and is found by Norman, who gets rid of her body. The movie takes us through the proceedings and we find by his psychiatrist that Norman is a schizophrenic, and he committed the murder dressed as his mother. Psycho should be preserved not only for its gripping plot-line, but for its influential rule-breaking and horror genre-starting style.</p>\r\nThe Cold War influenced an up-tight fearful society from 1945 to 1989. In 1960, Kennedy won the Democratic nomination, which as president, set in liberal ideology and changed the “mindset of the average Catholic voter” (Mirsky). Between the 1950’s and 1960’s came the civil rights movement. Segregation in schools was banned and was met with “fierce resistance” (Fiero). Revolts, “sit-ins,” protests and boycotts took place in an attempt for racial equality. Between 1950 and 1959, households with televisions rose from nine percent to eighty-six and became the “principal medium of mass communication and attitude formation in the US” (Shaw). During the decade of the 60’s, the film industry was reaching its lowest point. Many film productions were being made abroad to save money. During the sixties, baby boomers were becoming teenagers and young adults, which brought about a new way of thinking and change. An artistic movement in film known as the French New Wave brought awareness to international films through the late fifties and sixties. One film in particular would be Francois Truffaut’s “Les quatre cents coups” which broke rules of Hollywood’s cinema narrative structure that influenced other movies such as Psycho to break rules in the film industry.\r\n\r\nPsycho was unlike other works of its time because many films and artworks dealt with the realities of war and political events, such as Mervyn LeRoy’s “Wake Me When It’s Over” about a WWII veteran, and Tay Garnett’s “The Night Fighters” about the German invasion of England. This film was different because the “star” was killed off in the first third of the movie. It is very unusual even today to find the main character die in movies, and if so it is usually not until the end. “…No one had seen a film like this before in terms of its shock value,” one reviewer says (Skatssoon). It is innovative because it is considered the first modern horror film, and was the first time a flushing toilet was shown on the screen. One unusual thing about the trailer is that it is about ten minutes long. Another unusual thing is Janet Leigh, who played Marion, was advertised in a poster wearing a bra and slip.\r\n\r\nThough innovations for Technicolor films began in the early 1900’s and were perfected in the 1930’s, it was still typical to see black-and-white films during this time, which makes Psycho typical in this area. Being a “traditional film” it fits in with its type because it follows a story line. As contradicting as it sounds, it was typical because it was creative, as many other art forms were during this time. Psycho is typical because it was based off a novel by Robert Bloch. Many books were being turned into movies then, and still even today.\r\n\r\n“When it first screened in 1960, some patrons reportedly passed out from fear and many were too scared to take a shower for days” (Skatssoon). Some reviewers of its time called Psycho “cheap and nasty,” tasteless and exploitive. Among the negative receptions, a reviewer of New York Times says it was an “obviously low-budget job” and warns to prepare for a “couple of grisly shocks.” The reviewer says it is too slowly-paced – “slow buildups to sudden shocks that are old-fashioned melodramatics.” He says the acting is “fair.”\r\n\r\nAfter noticing how popular this film was among the public, he apologized for his negative review and put Psycho on his ten best list and called it a “bold psychological mystery picture”; “sensual,” and “sophisticated” (Kolker).\r\n\r\nToday, one reviewer claims Psycho is the “epitome of its genre” and “unlike many recent films, has a complicated and gripping plot” (Crowley). “It is amazing what fear Hitchcock instills with just a shower, a knife, and a few pints of chocolate syrup (which is what he used for blood in this black and white film)” (Crowley). Hollywood insiders voted Hitchcock’s Psycho as the greatest thriller of all time.\r\n\r\nOther than obvious casting changes, there are many differences between Gus Van Sant’s Psycho remake and Hitchcock’s Psycho. The 1998 remake brings the movie more up-to-date with one of the characters trading in for a Volvo instead of a Ford, and replacing a quiet service station with a noisy dance hall. One of many additional cut-in scenes is one where it shows the characters’ eyeball dilate during death. Another expected difference is pricing; instead of a ten dollar a night hotel room, it is thirty-six (Van Sant obviously had to adjust for inflation). Van Sant’s budget was $20 million, while Hitchcock’s was $800,000. Another main difference is Hitchcock’s Psycho is in black and white, while van Sant’s is in color.\r\n\r\nSimilarities between these two works are that they both have scored string orchestra music in the background. Both of these films do not show nudity - none more than a bra &amp; panty and bare-butt shot. The names of the characters are kept the same as well as lines (for the most part). Both of these movies have mixed reviews. Some reviewers say the remake is a “blatant rip-off” and a “degraded copy,” and agree van Sant has made two mistakes – to “remake a landmark of cinematic history,” and to follow it almost exactly, shot by shot and line by line (Verevis). Others say the remake does not resemble closely enough to the original, but is still a great film with wonderful acting. Hitchcock’s Psycho, also having mixed reviews, some critics thought the film to be “cheap and nasty,” while others say “It\'s seen as one of, if not the most significant film within the horror genre of all time” (Skatssoon). Another similarity, van Sant’s movie also had a reviewer reconsider his negative reception.\r\n\r\nWhat I personally find amazing about this film other than the plot-line is the fact that the approximately three-minute shower scene took seven days to shoot. What I like about this movie is the suspense created by the violins. I appreciate that we never actually see the knife going through Marion (that stuff makes me cringe). The mention of birds by Normal Bates, along with the taxidermy in the motel office, is one thing I do like, as I am a fan of birds, as Hitchcock was. One thing I do not like about the movie is how slow it is. It takes a long time to get through one scene but it is still interesting to watch. Other than that, I believe this movie is great and I love that is in black and white which gives it a mysterious tone and I love how the story takes us through the solving of the mysteries as the story unfolds when the psychiatrist is explaining what happened. One thing I found interesting is in Norman’s house, on the record player is Beethoven’s Eroica, which was my topic for Time Capsule Proposal Three.\r\n\r\nPsycho broke rules and norms of the film industry. It also created new rules. Until this time, audiences would show up at theatres any time during the movie without checking listings. Alfred Hitchcock demanded that no one would be admitted into the theater after the film has started showing – he required everyone to watch the movie from the very beginning. Though owners were scared audiences wouldn’t return after being turned away after the start of the showing, for the first time audiences waited and lined up to watch a movie. Hitchcock pushed as far as he could to get as much sex and violence as allowed through censorship at the time. Many websites I came across listed Psycho as one of the greatest of it’s time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n&nbsp;\r\n\r\nCrowley, Matt. \"Psycho.\" <em>Teen Ink</em> 16.1 (2004): 34. <em>MAS Ultra - School Edition</em>. Web. 8 Nov. 2011.\r\n\r\nThis article has brief views of a few different movies, including Psycho. I used this for today’s reception of the film.\r\n\r\n&nbsp;\r\n\r\nKolker, Robert Phillip. <em>Alfred Hitchcock\'s Psycho: a casebook</em>. Oxford University Press, 2004. eBook.\r\n\r\nThis book is a collection of essays over Psycho from its inception, reception, music, and more. I used this for its initial reception.\r\n\r\n&nbsp;\r\n\r\nLeitch, Thomas M. \"101 Ways To Tell Hitchcock\'s Psycho From Gus Van Sant\'s.\" <em>Literature Film Quarterly</em> 28.4 (2000): 269. <em>Academic Search Complete</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article discussing the differences between Hitchcock’s Psycho and its remake by Gus Van Sant. I used this article for comparing and contrasting.\r\n\r\n&nbsp;\r\n\r\nMirsky, Mark Jay. \"Kennedy On The Mount Of Olives.\" <em>Massachusetts</em><em> Review</em> 45.1 (2004): 160-177. <em>World History Collection</em>. Web. 8 Nov. 2011.\r\n\r\nThis is an article about Kennedy’s impact. I used it for the historical context paragraph.\r\n\r\n&nbsp;\r\n\r\nSchneider, Steven. \"Manufacturing horror in (Alfred) Hitchcock\'s Psycho.\" <em>CineAction</em> 50 (1999): 70-5. <em>Literature</em><em> Resource Center</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article about Hitchcock and the horror scenes in his work Psycho. I used it for a description.\r\n\r\n&nbsp;\r\n\r\nShaw, Tony. \"Television News And Cold War Propaganda (Book).\" <em>Cold War History</em> 2.1 (2001): 174. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\r\n\r\nThis is a review of the book “U.S. Television News and Cold War Propaganda, 1947-1960.” I used it for a statistic about television during the Cold War for historical context.\r\n\r\n&nbsp;\r\n\r\nSkatssoon, Judy. \"Audiences Went Crazy For Hitchcock\'s Psycho.\" <em>Advertiser, The (Adelaide)</em> (2010): 44. <em>Newspaper Source</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article about critics of Psycho. I used this for reception then and today.\r\n\r\n&nbsp;\r\n\r\nVerevis., Constantine. \"Psycho (Redux).\" <em>Metro</em> 121/122 (2000): 144. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\r\n<p style=\"text-align: left\" align=\"center\">This article is a review of van Sant’s Psycho. I used it for it’s reception.</p>','Hitchcock\'s Psycho','','publish','open','open','','hitchcocks-psycho','','','2011-11-21 18:46:48','2011-11-22 00:46:48','',0,'http://jeanatacc.com/2011/?p=2118',0,'post','',16),(2119,43,'2011-11-21 18:31:22','2011-11-22 00:31:22','','psycho-poster','','inherit','open','open','','psycho-poster','','','2011-11-21 18:31:22','2011-11-22 00:31:22','',2118,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster.jpg',0,'attachment','image/jpeg',0),(2120,43,'2011-11-21 18:42:32','2011-11-22 00:42:32','<p align=\"center\"></p>\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster.jpg\"><img class=\"aligncenter size-medium wp-image-2119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster-185x300.jpg\" alt=\"\" width=\"185\" height=\"300\" /></a><a href=\"http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500\">http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500</a></p>\n<p style=\"text-align: left\" align=\"center\">And a link to the shower scene: http://www.youtube.com/watch?v=8VP5jEAP3K4</p>\n<p style=\"text-align: left\" align=\"center\">Alfred Hitchcock’s <em>Psycho</em> (1960) is hailed as the first “modern” horror film (Schneider). This film is about a young woman, Marion living in Phoenix, wanting to marry and start a new life with her lover, Sam, in California. When she gets the money (by stealing), she drives to California while along the way, she pulls into The Bates Motel, which is managed by Norman. She is murdered in the infamous shower scene, by which we believe is Norman’s jealous mother, and is found by Norman, who gets rid of her body. The movie takes us through the proceedings and we find by his psychiatrist that Norman is a schizophrenic, and he committed the murder dressed as his mother. Psycho should be preserved not only for its gripping plot-line, but for its influential rule-breaking and horror genre-starting style.<!--more--></p>\nThe Cold War influenced an up-tight fearful society from 1945 to 1989. In 1960, Kennedy won the Democratic nomination, which as president, set in liberal ideology and changed the “mindset of the average Catholic voter” (Mirsky). Between the 1950’s and 1960’s came the civil rights movement. Segregation in schools was banned and was met with “fierce resistance” (Fiero). Revolts, “sit-ins,” protests and boycotts took place in an attempt for racial equality. Between 1950 and 1959, households with televisions rose from nine percent to eighty-six and became the “principal medium of mass communication and attitude formation in the US” (Shaw). During the decade of the 60’s, the film industry was reaching its lowest point. Many film productions were being made abroad to save money. During the sixties, baby boomers were becoming teenagers and young adults, which brought about a new way of thinking and change. An artistic movement in film known as the French New Wave brought awareness to international films through the late fifties and sixties. One film in particular would be Francois Truffaut’s “Les quatre cents coups” which broke rules of Hollywood’s cinema narrative structure that influenced other movies such as Psycho to break rules in the film industry.\n\nPsycho was unlike other works of its time because many films and artworks dealt with the realities of war and political events, such as Mervyn LeRoy’s “Wake Me When It’s Over” about a WWII veteran, and Tay Garnett’s “The Night Fighters” about the German invasion of England. This film was different because the “star” was killed off in the first third of the movie. It is very unusual even today to find the main character die in movies, and if so it is usually not until the end. “…No one had seen a film like this before in terms of its shock value,” one reviewer says (Skatssoon). It is innovative because it is considered the first modern horror film, and was the first time a flushing toilet was shown on the screen. One unusual thing about the trailer is that it is about ten minutes long. Another unusual thing is Janet Leigh, who played Marion, was advertised in a poster wearing a bra and slip.\n\nThough innovations for Technicolor films began in the early 1900’s and were perfected in the 1930’s, it was still typical to see black-and-white films during this time, which makes Psycho typical in this area. Being a “traditional film” it fits in with its type because it follows a story line. As contradicting as it sounds, it was typical because it was creative, as many other art forms were during this time. Psycho is typical because it was based off a novel by Robert Bloch. Many books were being turned into movies then, and still even today.\n\n“When it first screened in 1960, some patrons reportedly passed out from fear and many were too scared to take a shower for days” (Skatssoon). Some reviewers of its time called Psycho “cheap and nasty,” tasteless and exploitive. Among the negative receptions, a reviewer of New York Times says it was an “obviously low-budget job” and warns to prepare for a “couple of grisly shocks.” The reviewer says it is too slowly-paced – “slow buildups to sudden shocks that are old-fashioned melodramatics.” He says the acting is “fair.”\n\nAfter noticing how popular this film was among the public, he apologized for his negative review and put Psycho on his ten best list and called it a “bold psychological mystery picture”; “sensual,” and “sophisticated” (Kolker).\n\nToday, one reviewer claims Psycho is the “epitome of its genre” and “unlike many recent films, has a complicated and gripping plot” (Crowley). “It is amazing what fear Hitchcock instills with just a shower, a knife, and a few pints of chocolate syrup (which is what he used for blood in this black and white film)” (Crowley). Hollywood insiders voted Hitchcock’s Psycho as the greatest thriller of all time.\n\nOther than obvious casting changes, there are many differences between Gus Van Sant’s Psycho remake and Hitchcock’s Psycho. The 1998 remake brings the movie more up-to-date with one of the characters trading in for a Volvo instead of a Ford, and replacing a quiet service station with a noisy dance hall. One of many additional cut-in scenes is one where it shows the characters’ eyeball dilate during death. Another expected difference is pricing; instead of a ten dollar a night hotel room, it is thirty-six (Van Sant obviously had to adjust for inflation). Van Sant’s budget was $20 million, while Hitchcock’s was $800,000. Another main difference is Hitchcock’s Psycho is in black and white, while van Sant’s is in color.\n\nSimilarities between these two works are that they both have scored string orchestra music in the background. Both of these films do not show nudity - none more than a bra &amp; panty and bare-butt shot. The names of the characters are kept the same as well as lines (for the most part). Both of these movies have mixed reviews. Some reviewers say the remake is a “blatant rip-off” and a “degraded copy,” and agree van Sant has made two mistakes – to “remake a landmark of cinematic history,” and to follow it almost exactly, shot by shot and line by line (Verevis). Others say the remake does not resemble closely enough to the original, but is still a great film with wonderful acting. Hitchcock’s Psycho, also having mixed reviews, some critics thought the film to be “cheap and nasty,” while others say “It\'s seen as one of, if not the most significant film within the horror genre of all time” (Skatssoon). Another similarity, van Sant’s movie also had a reviewer reconsider his negative reception.\n\nWhat I personally find amazing about this film other than the plot-line is the fact that the approximately three-minute shower scene took seven days to shoot. What I like about this movie is the suspense created by the violins. I appreciate that we never actually see the knife going through Marion (that stuff makes me cringe). The mention of birds by Normal Bates, along with the taxidermy in the motel office, is one thing I do like, as I am a fan of birds, as Hitchcock was. One thing I do not like about the movie is how slow it is. It takes a long time to get through one scene but it is still interesting to watch. Other than that, I believe this movie is great and I love that is in black and white which gives it a mysterious tone and I love how the story takes us through the solving of the mysteries as the story unfolds when the psychiatrist is explaining what happened. One thing I found interesting is in Norman’s house, on the record player is Beethoven’s Eroica, which was my topic for Time Capsule Proposal Three.\n\nPsycho broke rules and norms of the film industry. It also created new rules. Until this time, audiences would show up at theatres any time during the movie without checking listings. Alfred Hitchcock demanded that no one would be admitted into the theater after the film has started showing – he required everyone to watch the movie from the very beginning. Though owners were scared audiences wouldn’t return after being turned away after the start of the showing, for the first time audiences waited and lined up to watch a movie. Hitchcock pushed as far as he could to get as much sex and violence as allowed through censorship at the time. Many websites I came across listed Psycho as one of the greatest of it’s time.\n\n&nbsp;\n\n&nbsp;\n<p align=\"center\">Works Cited</p>\n&nbsp;\n\nCrowley, Matt. \"Psycho.\" <em>Teen Ink</em> 16.1 (2004): 34. <em>MAS Ultra - School Edition</em>. Web. 8 Nov. 2011.\n\nThis article has brief views of a few different movies, including Psycho. I used this for today’s reception of the film.\n\n&nbsp;\n\nKolker, Robert Phillip. <em>Alfred Hitchcock\'s Psycho: a casebook</em>. Oxford University Press, 2004. eBook.\n\nThis book is a collection of essays over Psycho from its inception, reception, music, and more. I used this for its initial reception.\n\n&nbsp;\n\nLeitch, Thomas M. \"101 Ways To Tell Hitchcock\'s Psycho From Gus Van Sant\'s.\" <em>Literature Film Quarterly</em> 28.4 (2000): 269. <em>Academic Search Complete</em>. Web. 3 Nov. 2011.\n\nThis is an article discussing the differences between Hitchcock’s Psycho and its remake by Gus Van Sant. I used this article for comparing and contrasting.\n\n&nbsp;\n\nMirsky, Mark Jay. \"Kennedy On The Mount Of Olives.\" <em>Massachusetts</em><em> Review</em> 45.1 (2004): 160-177. <em>World History Collection</em>. Web. 8 Nov. 2011.\n\nThis is an article about Kennedy’s impact. I used it for the historical context paragraph.\n\n&nbsp;\n\nSchneider, Steven. \"Manufacturing horror in (Alfred) Hitchcock\'s Psycho.\" <em>CineAction</em> 50 (1999): 70-5. <em>Literature</em><em> Resource Center</em>. Web. 3 Nov. 2011.\n\nThis is an article about Hitchcock and the horror scenes in his work Psycho. I used it for a description.\n\n&nbsp;\n\nShaw, Tony. \"Television News And Cold War Propaganda (Book).\" <em>Cold War History</em> 2.1 (2001): 174. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\n\nThis is a review of the book “U.S. Television News and <strong>Cold</strong><strong> </strong><strong>War</strong> Propaganda, 1947-1960.” I used it for a statistic about television during the Cold War for historical context.\n\n&nbsp;\n\nSkatssoon, Judy. \"Audiences Went Crazy For Hitchcock\'s Psycho.\" <em>Advertiser, The (Adelaide)</em> (2010): 44. <em>Newspaper Source</em>. Web. 3 Nov. 2011.\n\nThis is an article about critics of Psycho. I used this for reception then and today.\n\n&nbsp;\n\nVerevis., Constantine. \"Psycho (Redux).\" <em>Metro</em> 121/122 (2000): 144. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\n<p style=\"text-align: left\" align=\"center\">This article is a review of van Sant’s Psycho. I used it for it’s reception.</p>','Hitchcock\'s Psycho','','inherit','open','open','','2118-revision','','','2011-11-21 18:42:32','2011-11-22 00:42:32','',2118,'http://jeanatacc.com/2011/?p=2120',0,'revision','',0),(2121,43,'2011-11-21 18:43:32','2011-11-22 00:43:32','<p align=\"center\"></p>\n<p style=\"text-align: center\" align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster.jpg\"><img class=\"aligncenter size-medium wp-image-2119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster-185x300.jpg\" alt=\"\" width=\"185\" height=\"300\" /></a><a href=\"http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500\">http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500</a></p>\n<p style=\"text-align: center\" align=\"center\">And a link to the shower scene: http://www.youtube.com/watch?v=8VP5jEAP3K4</p>\n<p style=\"text-align: left\" align=\"center\">Alfred Hitchcock’s <em>Psycho</em> (1960) is hailed as the first “modern” horror film (Schneider). This film is about a young woman, Marion living in Phoenix, wanting to marry and start a new life with her lover, Sam, in California. When she gets the money (by stealing), she drives to California while along the way, she pulls into The Bates Motel, which is managed by Norman. She is murdered in the infamous shower scene, by which we believe is Norman’s jealous mother, and is found by Norman, who gets rid of her body. The movie takes us through the proceedings and we find by his psychiatrist that Norman is a schizophrenic, and he committed the murder dressed as his mother. Psycho should be preserved not only for its gripping plot-line, but for its influential rule-breaking and horror genre-starting style.<!--more--></p>\nThe Cold War influenced an up-tight fearful society from 1945 to 1989. In 1960, Kennedy won the Democratic nomination, which as president, set in liberal ideology and changed the “mindset of the average Catholic voter” (Mirsky). Between the 1950’s and 1960’s came the civil rights movement. Segregation in schools was banned and was met with “fierce resistance” (Fiero). Revolts, “sit-ins,” protests and boycotts took place in an attempt for racial equality. Between 1950 and 1959, households with televisions rose from nine percent to eighty-six and became the “principal medium of mass communication and attitude formation in the US” (Shaw). During the decade of the 60’s, the film industry was reaching its lowest point. Many film productions were being made abroad to save money. During the sixties, baby boomers were becoming teenagers and young adults, which brought about a new way of thinking and change. An artistic movement in film known as the French New Wave brought awareness to international films through the late fifties and sixties. One film in particular would be Francois Truffaut’s “Les quatre cents coups” which broke rules of Hollywood’s cinema narrative structure that influenced other movies such as Psycho to break rules in the film industry.\n\nPsycho was unlike other works of its time because many films and artworks dealt with the realities of war and political events, such as Mervyn LeRoy’s “Wake Me When It’s Over” about a WWII veteran, and Tay Garnett’s “The Night Fighters” about the German invasion of England. This film was different because the “star” was killed off in the first third of the movie. It is very unusual even today to find the main character die in movies, and if so it is usually not until the end. “…No one had seen a film like this before in terms of its shock value,” one reviewer says (Skatssoon). It is innovative because it is considered the first modern horror film, and was the first time a flushing toilet was shown on the screen. One unusual thing about the trailer is that it is about ten minutes long. Another unusual thing is Janet Leigh, who played Marion, was advertised in a poster wearing a bra and slip.\n\nThough innovations for Technicolor films began in the early 1900’s and were perfected in the 1930’s, it was still typical to see black-and-white films during this time, which makes Psycho typical in this area. Being a “traditional film” it fits in with its type because it follows a story line. As contradicting as it sounds, it was typical because it was creative, as many other art forms were during this time. Psycho is typical because it was based off a novel by Robert Bloch. Many books were being turned into movies then, and still even today.\n\n“When it first screened in 1960, some patrons reportedly passed out from fear and many were too scared to take a shower for days” (Skatssoon). Some reviewers of its time called Psycho “cheap and nasty,” tasteless and exploitive. Among the negative receptions, a reviewer of New York Times says it was an “obviously low-budget job” and warns to prepare for a “couple of grisly shocks.” The reviewer says it is too slowly-paced – “slow buildups to sudden shocks that are old-fashioned melodramatics.” He says the acting is “fair.”\n\nAfter noticing how popular this film was among the public, he apologized for his negative review and put Psycho on his ten best list and called it a “bold psychological mystery picture”; “sensual,” and “sophisticated” (Kolker).\n\nToday, one reviewer claims Psycho is the “epitome of its genre” and “unlike many recent films, has a complicated and gripping plot” (Crowley). “It is amazing what fear Hitchcock instills with just a shower, a knife, and a few pints of chocolate syrup (which is what he used for blood in this black and white film)” (Crowley). Hollywood insiders voted Hitchcock’s Psycho as the greatest thriller of all time.\n\nOther than obvious casting changes, there are many differences between Gus Van Sant’s Psycho remake and Hitchcock’s Psycho. The 1998 remake brings the movie more up-to-date with one of the characters trading in for a Volvo instead of a Ford, and replacing a quiet service station with a noisy dance hall. One of many additional cut-in scenes is one where it shows the characters’ eyeball dilate during death. Another expected difference is pricing; instead of a ten dollar a night hotel room, it is thirty-six (Van Sant obviously had to adjust for inflation). Van Sant’s budget was $20 million, while Hitchcock’s was $800,000. Another main difference is Hitchcock’s Psycho is in black and white, while van Sant’s is in color.\n\nSimilarities between these two works are that they both have scored string orchestra music in the background. Both of these films do not show nudity - none more than a bra &amp; panty and bare-butt shot. The names of the characters are kept the same as well as lines (for the most part). Both of these movies have mixed reviews. Some reviewers say the remake is a “blatant rip-off” and a “degraded copy,” and agree van Sant has made two mistakes – to “remake a landmark of cinematic history,” and to follow it almost exactly, shot by shot and line by line (Verevis). Others say the remake does not resemble closely enough to the original, but is still a great film with wonderful acting. Hitchcock’s Psycho, also having mixed reviews, some critics thought the film to be “cheap and nasty,” while others say “It\'s seen as one of, if not the most significant film within the horror genre of all time” (Skatssoon). Another similarity, van Sant’s movie also had a reviewer reconsider his negative reception.\n\nWhat I personally find amazing about this film other than the plot-line is the fact that the approximately three-minute shower scene took seven days to shoot. What I like about this movie is the suspense created by the violins. I appreciate that we never actually see the knife going through Marion (that stuff makes me cringe). The mention of birds by Normal Bates, along with the taxidermy in the motel office, is one thing I do like, as I am a fan of birds, as Hitchcock was. One thing I do not like about the movie is how slow it is. It takes a long time to get through one scene but it is still interesting to watch. Other than that, I believe this movie is great and I love that is in black and white which gives it a mysterious tone and I love how the story takes us through the solving of the mysteries as the story unfolds when the psychiatrist is explaining what happened. One thing I found interesting is in Norman’s house, on the record player is Beethoven’s Eroica, which was my topic for Time Capsule Proposal Three.\n\nPsycho broke rules and norms of the film industry. It also created new rules. Until this time, audiences would show up at theatres any time during the movie without checking listings. Alfred Hitchcock demanded that no one would be admitted into the theater after the film has started showing – he required everyone to watch the movie from the very beginning. Though owners were scared audiences wouldn’t return after being turned away after the start of the showing, for the first time audiences waited and lined up to watch a movie. Hitchcock pushed as far as he could to get as much sex and violence as allowed through censorship at the time. Many websites I came across listed Psycho as one of the greatest of it’s time.\n\n&nbsp;\n\n&nbsp;\n<p align=\"center\">Works Cited</p>\n&nbsp;\n\nCrowley, Matt. \"Psycho.\" <em>Teen Ink</em> 16.1 (2004): 34. <em>MAS Ultra - School Edition</em>. Web. 8 Nov. 2011.\n\nThis article has brief views of a few different movies, including Psycho. I used this for today’s reception of the film.\n\n&nbsp;\n\nKolker, Robert Phillip. <em>Alfred Hitchcock\'s Psycho: a casebook</em>. Oxford University Press, 2004. eBook.\n\nThis book is a collection of essays over Psycho from its inception, reception, music, and more. I used this for its initial reception.\n\n&nbsp;\n\nLeitch, Thomas M. \"101 Ways To Tell Hitchcock\'s Psycho From Gus Van Sant\'s.\" <em>Literature Film Quarterly</em> 28.4 (2000): 269. <em>Academic Search Complete</em>. Web. 3 Nov. 2011.\n\nThis is an article discussing the differences between Hitchcock’s Psycho and its remake by Gus Van Sant. I used this article for comparing and contrasting.\n\n&nbsp;\n\nMirsky, Mark Jay. \"Kennedy On The Mount Of Olives.\" <em>Massachusetts</em><em> Review</em> 45.1 (2004): 160-177. <em>World History Collection</em>. Web. 8 Nov. 2011.\n\nThis is an article about Kennedy’s impact. I used it for the historical context paragraph.\n\n&nbsp;\n\nSchneider, Steven. \"Manufacturing horror in (Alfred) Hitchcock\'s Psycho.\" <em>CineAction</em> 50 (1999): 70-5. <em>Literature</em><em> Resource Center</em>. Web. 3 Nov. 2011.\n\nThis is an article about Hitchcock and the horror scenes in his work Psycho. I used it for a description.\n\n&nbsp;\n\nShaw, Tony. \"Television News And Cold War Propaganda (Book).\" <em>Cold War History</em> 2.1 (2001): 174. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\n\nThis is a review of the book “U.S. Television News and <strong>Cold</strong><strong> </strong><strong>War</strong> Propaganda, 1947-1960.” I used it for a statistic about television during the Cold War for historical context.\n\n&nbsp;\n\nSkatssoon, Judy. \"Audiences Went Crazy For Hitchcock\'s Psycho.\" <em>Advertiser, The (Adelaide)</em> (2010): 44. <em>Newspaper Source</em>. Web. 3 Nov. 2011.\n\nThis is an article about critics of Psycho. I used this for reception then and today.\n\n&nbsp;\n\nVerevis., Constantine. \"Psycho (Redux).\" <em>Metro</em> 121/122 (2000): 144. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\n<p style=\"text-align: left\" align=\"center\">This article is a review of van Sant’s Psycho. I used it for it’s reception.</p>','Hitchcock\'s Psycho','','inherit','open','open','','2118-revision-2','','','2011-11-21 18:43:32','2011-11-22 00:43:32','',2118,'http://jeanatacc.com/2011/?p=2121',0,'revision','',0),(2123,43,'2011-11-21 18:46:16','2011-11-22 00:46:16','<p style=\"text-align: center\" align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster.jpg\"><img class=\"aligncenter size-medium wp-image-2119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster-185x300.jpg\" alt=\"\" width=\"185\" height=\"300\" /></a><a href=\"http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500\">http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500</a></p>\r\n<p style=\"text-align: center\" align=\"center\">And a link to the shower scene: <a href=\"http://www.youtube.com/watch?v=8VP5jEAP3K4\">http://www.youtube.com/watch?v=8VP5jEAP3K4</a></p>\r\n<p style=\"text-align: left\" align=\"center\">Alfred Hitchcock’s <em>Psycho</em> (1960) is hailed as the first “modern” horror film (Schneider). This film is about a young woman, Marion living in Phoenix, wanting to marry and start a new life with her lover, Sam, in California.<!--more--> When she gets the money (by stealing), she drives to California while along the way, she pulls into The Bates Motel, which is managed by Norman. She is murdered in the infamous shower scene, by which we believe is Norman’s jealous mother, and is found by Norman, who gets rid of her body. The movie takes us through the proceedings and we find by his psychiatrist that Norman is a schizophrenic, and he committed the murder dressed as his mother. Psycho should be preserved not only for its gripping plot-line, but for its influential rule-breaking and horror genre-starting style.</p>\r\nThe Cold War influenced an up-tight fearful society from 1945 to 1989. In 1960, Kennedy won the Democratic nomination, which as president, set in liberal ideology and changed the “mindset of the average Catholic voter” (Mirsky). Between the 1950’s and 1960’s came the civil rights movement. Segregation in schools was banned and was met with “fierce resistance” (Fiero). Revolts, “sit-ins,” protests and boycotts took place in an attempt for racial equality. Between 1950 and 1959, households with televisions rose from nine percent to eighty-six and became the “principal medium of mass communication and attitude formation in the US” (Shaw). During the decade of the 60’s, the film industry was reaching its lowest point. Many film productions were being made abroad to save money. During the sixties, baby boomers were becoming teenagers and young adults, which brought about a new way of thinking and change. An artistic movement in film known as the French New Wave brought awareness to international films through the late fifties and sixties. One film in particular would be Francois Truffaut’s “Les quatre cents coups” which broke rules of Hollywood’s cinema narrative structure that influenced other movies such as Psycho to break rules in the film industry.\r\n\r\nPsycho was unlike other works of its time because many films and artworks dealt with the realities of war and political events, such as Mervyn LeRoy’s “Wake Me When It’s Over” about a WWII veteran, and Tay Garnett’s “The Night Fighters” about the German invasion of England. This film was different because the “star” was killed off in the first third of the movie. It is very unusual even today to find the main character die in movies, and if so it is usually not until the end. “…No one had seen a film like this before in terms of its shock value,” one reviewer says (Skatssoon). It is innovative because it is considered the first modern horror film, and was the first time a flushing toilet was shown on the screen. One unusual thing about the trailer is that it is about ten minutes long. Another unusual thing is Janet Leigh, who played Marion, was advertised in a poster wearing a bra and slip.\r\n\r\nThough innovations for Technicolor films began in the early 1900’s and were perfected in the 1930’s, it was still typical to see black-and-white films during this time, which makes Psycho typical in this area. Being a “traditional film” it fits in with its type because it follows a story line. As contradicting as it sounds, it was typical because it was creative, as many other art forms were during this time. Psycho is typical because it was based off a novel by Robert Bloch. Many books were being turned into movies then, and still even today.\r\n\r\n“When it first screened in 1960, some patrons reportedly passed out from fear and many were too scared to take a shower for days” (Skatssoon). Some reviewers of its time called Psycho “cheap and nasty,” tasteless and exploitive. Among the negative receptions, a reviewer of New York Times says it was an “obviously low-budget job” and warns to prepare for a “couple of grisly shocks.” The reviewer says it is too slowly-paced – “slow buildups to sudden shocks that are old-fashioned melodramatics.” He says the acting is “fair.”\r\n\r\nAfter noticing how popular this film was among the public, he apologized for his negative review and put Psycho on his ten best list and called it a “bold psychological mystery picture”; “sensual,” and “sophisticated” (Kolker).\r\n\r\nToday, one reviewer claims Psycho is the “epitome of its genre” and “unlike many recent films, has a complicated and gripping plot” (Crowley). “It is amazing what fear Hitchcock instills with just a shower, a knife, and a few pints of chocolate syrup (which is what he used for blood in this black and white film)” (Crowley). Hollywood insiders voted Hitchcock’s Psycho as the greatest thriller of all time.\r\n\r\nOther than obvious casting changes, there are many differences between Gus Van Sant’s Psycho remake and Hitchcock’s Psycho. The 1998 remake brings the movie more up-to-date with one of the characters trading in for a Volvo instead of a Ford, and replacing a quiet service station with a noisy dance hall. One of many additional cut-in scenes is one where it shows the characters’ eyeball dilate during death. Another expected difference is pricing; instead of a ten dollar a night hotel room, it is thirty-six (Van Sant obviously had to adjust for inflation). Van Sant’s budget was $20 million, while Hitchcock’s was $800,000. Another main difference is Hitchcock’s Psycho is in black and white, while van Sant’s is in color.\r\n\r\nSimilarities between these two works are that they both have scored string orchestra music in the background. Both of these films do not show nudity - none more than a bra &amp; panty and bare-butt shot. The names of the characters are kept the same as well as lines (for the most part). Both of these movies have mixed reviews. Some reviewers say the remake is a “blatant rip-off” and a “degraded copy,” and agree van Sant has made two mistakes – to “remake a landmark of cinematic history,” and to follow it almost exactly, shot by shot and line by line (Verevis). Others say the remake does not resemble closely enough to the original, but is still a great film with wonderful acting. Hitchcock’s Psycho, also having mixed reviews, some critics thought the film to be “cheap and nasty,” while others say “It\'s seen as one of, if not the most significant film within the horror genre of all time” (Skatssoon). Another similarity, van Sant’s movie also had a reviewer reconsider his negative reception.\r\n\r\nWhat I personally find amazing about this film other than the plot-line is the fact that the approximately three-minute shower scene took seven days to shoot. What I like about this movie is the suspense created by the violins. I appreciate that we never actually see the knife going through Marion (that stuff makes me cringe). The mention of birds by Normal Bates, along with the taxidermy in the motel office, is one thing I do like, as I am a fan of birds, as Hitchcock was. One thing I do not like about the movie is how slow it is. It takes a long time to get through one scene but it is still interesting to watch. Other than that, I believe this movie is great and I love that is in black and white which gives it a mysterious tone and I love how the story takes us through the solving of the mysteries as the story unfolds when the psychiatrist is explaining what happened. One thing I found interesting is in Norman’s house, on the record player is Beethoven’s Eroica, which was my topic for Time Capsule Proposal Three.\r\n\r\nPsycho broke rules and norms of the film industry. It also created new rules. Until this time, audiences would show up at theatres any time during the movie without checking listings. Alfred Hitchcock demanded that no one would be admitted into the theater after the film has started showing – he required everyone to watch the movie from the very beginning. Though owners were scared audiences wouldn’t return after being turned away after the start of the showing, for the first time audiences waited and lined up to watch a movie. Hitchcock pushed as far as he could to get as much sex and violence as allowed through censorship at the time. Many websites I came across listed Psycho as one of the greatest of it’s time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n&nbsp;\r\n\r\nCrowley, Matt. \"Psycho.\" <em>Teen Ink</em> 16.1 (2004): 34. <em>MAS Ultra - School Edition</em>. Web. 8 Nov. 2011.\r\n\r\nThis article has brief views of a few different movies, including Psycho. I used this for today’s reception of the film.\r\n\r\n&nbsp;\r\n\r\nKolker, Robert Phillip. <em>Alfred Hitchcock\'s Psycho: a casebook</em>. Oxford University Press, 2004. eBook.\r\n\r\nThis book is a collection of essays over Psycho from its inception, reception, music, and more. I used this for its initial reception.\r\n\r\n&nbsp;\r\n\r\nLeitch, Thomas M. \"101 Ways To Tell Hitchcock\'s Psycho From Gus Van Sant\'s.\" <em>Literature Film Quarterly</em> 28.4 (2000): 269. <em>Academic Search Complete</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article discussing the differences between Hitchcock’s Psycho and its remake by Gus Van Sant. I used this article for comparing and contrasting.\r\n\r\n&nbsp;\r\n\r\nMirsky, Mark Jay. \"Kennedy On The Mount Of Olives.\" <em>Massachusetts</em><em> Review</em> 45.1 (2004): 160-177. <em>World History Collection</em>. Web. 8 Nov. 2011.\r\n\r\nThis is an article about Kennedy’s impact. I used it for the historical context paragraph.\r\n\r\n&nbsp;\r\n\r\nSchneider, Steven. \"Manufacturing horror in (Alfred) Hitchcock\'s Psycho.\" <em>CineAction</em> 50 (1999): 70-5. <em>Literature</em><em> Resource Center</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article about Hitchcock and the horror scenes in his work Psycho. I used it for a description.\r\n\r\n&nbsp;\r\n\r\nShaw, Tony. \"Television News And Cold War Propaganda (Book).\" <em>Cold War History</em> 2.1 (2001): 174. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\r\n\r\nThis is a review of the book “U.S. Television News and Cold War Propaganda, 1947-1960.” I used it for a statistic about television during the Cold War for historical context.\r\n\r\n&nbsp;\r\n\r\nSkatssoon, Judy. \"Audiences Went Crazy For Hitchcock\'s Psycho.\" <em>Advertiser, The (Adelaide)</em> (2010): 44. <em>Newspaper Source</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article about critics of Psycho. I used this for reception then and today.\r\n\r\n&nbsp;\r\n\r\nVerevis., Constantine. \"Psycho (Redux).\" <em>Metro</em> 121/122 (2000): 144. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\r\n<p style=\"text-align: left\" align=\"center\">This article is a review of van Sant’s Psycho. I used it for it’s reception.</p>','Hitchcock\'s Psycho','','inherit','open','open','','2118-revision-4','','','2011-11-21 18:46:16','2011-11-22 00:46:16','',2118,'http://jeanatacc.com/2011/?p=2123',0,'revision','',0),(2122,43,'2011-11-21 18:45:17','2011-11-22 00:45:17','<p style=\"text-align: center\" align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster.jpg\"><img class=\"aligncenter size-medium wp-image-2119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/psycho-poster-185x300.jpg\" alt=\"\" width=\"185\" height=\"300\" /></a><a href=\"http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500\">http://twentyfourframes.files.wordpress.com/2010/01/psycho-poster.jpg?w=309&amp;h=500</a></p>\r\n<p style=\"text-align: center\" align=\"center\">And a link to the shower scene: <a href=\"http://www.youtube.com/watch?v=8VP5jEAP3K4\">http://www.youtube.com/watch?v=8VP5jEAP3K4</a></p>\r\n<p style=\"text-align: left\" align=\"center\">Alfred Hitchcock’s <em>Psycho</em> (1960) is hailed as the first “modern” horror film (Schneider). This film is about a young woman, Marion living in Phoenix, wanting to marry and start a new life with her lover, Sam, in California.<!--more--> When she gets the money (by stealing), she drives to California while along the way, she pulls into The Bates Motel, which is managed by Norman. She is murdered in the infamous shower scene, by which we believe is Norman’s jealous mother, and is found by Norman, who gets rid of her body. The movie takes us through the proceedings and we find by his psychiatrist that Norman is a schizophrenic, and he committed the murder dressed as his mother. Psycho should be preserved not only for its gripping plot-line, but for its influential rule-breaking and horror genre-starting style.</p>\r\nThe Cold War influenced an up-tight fearful society from 1945 to 1989. In 1960, Kennedy won the Democratic nomination, which as president, set in liberal ideology and changed the “mindset of the average Catholic voter” (Mirsky). Between the 1950’s and 1960’s came the civil rights movement. Segregation in schools was banned and was met with “fierce resistance” (Fiero). Revolts, “sit-ins,” protests and boycotts took place in an attempt for racial equality. Between 1950 and 1959, households with televisions rose from nine percent to eighty-six and became the “principal medium of mass communication and attitude formation in the US” (Shaw). During the decade of the 60’s, the film industry was reaching its lowest point. Many film productions were being made abroad to save money. During the sixties, baby boomers were becoming teenagers and young adults, which brought about a new way of thinking and change. An artistic movement in film known as the French New Wave brought awareness to international films through the late fifties and sixties. One film in particular would be Francois Truffaut’s “Les quatre cents coups” which broke rules of Hollywood’s cinema narrative structure that influenced other movies such as Psycho to break rules in the film industry.\r\n\r\nPsycho was unlike other works of its time because many films and artworks dealt with the realities of war and political events, such as Mervyn LeRoy’s “Wake Me When It’s Over” about a WWII veteran, and Tay Garnett’s “The Night Fighters” about the German invasion of England. This film was different because the “star” was killed off in the first third of the movie. It is very unusual even today to find the main character die in movies, and if so it is usually not until the end. “…No one had seen a film like this before in terms of its shock value,” one reviewer says (Skatssoon). It is innovative because it is considered the first modern horror film, and was the first time a flushing toilet was shown on the screen. One unusual thing about the trailer is that it is about ten minutes long. Another unusual thing is Janet Leigh, who played Marion, was advertised in a poster wearing a bra and slip.\r\n\r\nThough innovations for Technicolor films began in the early 1900’s and were perfected in the 1930’s, it was still typical to see black-and-white films during this time, which makes Psycho typical in this area. Being a “traditional film” it fits in with its type because it follows a story line. As contradicting as it sounds, it was typical because it was creative, as many other art forms were during this time. Psycho is typical because it was based off a novel by Robert Bloch. Many books were being turned into movies then, and still even today.\r\n\r\n“When it first screened in 1960, some patrons reportedly passed out from fear and many were too scared to take a shower for days” (Skatssoon). Some reviewers of its time called Psycho “cheap and nasty,” tasteless and exploitive. Among the negative receptions, a reviewer of New York Times says it was an “obviously low-budget job” and warns to prepare for a “couple of grisly shocks.” The reviewer says it is too slowly-paced – “slow buildups to sudden shocks that are old-fashioned melodramatics.” He says the acting is “fair.”\r\n\r\nAfter noticing how popular this film was among the public, he apologized for his negative review and put Psycho on his ten best list and called it a “bold psychological mystery picture”; “sensual,” and “sophisticated” (Kolker).\r\n\r\nToday, one reviewer claims Psycho is the “epitome of its genre” and “unlike many recent films, has a complicated and gripping plot” (Crowley). “It is amazing what fear Hitchcock instills with just a shower, a knife, and a few pints of chocolate syrup (which is what he used for blood in this black and white film)” (Crowley). Hollywood insiders voted Hitchcock’s Psycho as the greatest thriller of all time.\r\n\r\nOther than obvious casting changes, there are many differences between Gus Van Sant’s Psycho remake and Hitchcock’s Psycho. The 1998 remake brings the movie more up-to-date with one of the characters trading in for a Volvo instead of a Ford, and replacing a quiet service station with a noisy dance hall. One of many additional cut-in scenes is one where it shows the characters’ eyeball dilate during death. Another expected difference is pricing; instead of a ten dollar a night hotel room, it is thirty-six (Van Sant obviously had to adjust for inflation). Van Sant’s budget was $20 million, while Hitchcock’s was $800,000. Another main difference is Hitchcock’s Psycho is in black and white, while van Sant’s is in color.\r\n\r\nSimilarities between these two works are that they both have scored string orchestra music in the background. Both of these films do not show nudity - none more than a bra &amp; panty and bare-butt shot. The names of the characters are kept the same as well as lines (for the most part). Both of these movies have mixed reviews. Some reviewers say the remake is a “blatant rip-off” and a “degraded copy,” and agree van Sant has made two mistakes – to “remake a landmark of cinematic history,” and to follow it almost exactly, shot by shot and line by line (Verevis). Others say the remake does not resemble closely enough to the original, but is still a great film with wonderful acting. Hitchcock’s Psycho, also having mixed reviews, some critics thought the film to be “cheap and nasty,” while others say “It\'s seen as one of, if not the most significant film within the horror genre of all time” (Skatssoon). Another similarity, van Sant’s movie also had a reviewer reconsider his negative reception.\r\n\r\nWhat I personally find amazing about this film other than the plot-line is the fact that the approximately three-minute shower scene took seven days to shoot. What I like about this movie is the suspense created by the violins. I appreciate that we never actually see the knife going through Marion (that stuff makes me cringe). The mention of birds by Normal Bates, along with the taxidermy in the motel office, is one thing I do like, as I am a fan of birds, as Hitchcock was. One thing I do not like about the movie is how slow it is. It takes a long time to get through one scene but it is still interesting to watch. Other than that, I believe this movie is great and I love that is in black and white which gives it a mysterious tone and I love how the story takes us through the solving of the mysteries as the story unfolds when the psychiatrist is explaining what happened. One thing I found interesting is in Norman’s house, on the record player is Beethoven’s Eroica, which was my topic for Time Capsule Proposal Three.\r\n\r\nPsycho broke rules and norms of the film industry. It also created new rules. Until this time, audiences would show up at theatres any time during the movie without checking listings. Alfred Hitchcock demanded that no one would be admitted into the theater after the film has started showing – he required everyone to watch the movie from the very beginning. Though owners were scared audiences wouldn’t return after being turned away after the start of the showing, for the first time audiences waited and lined up to watch a movie. Hitchcock pushed as far as he could to get as much sex and violence as allowed through censorship at the time. Many websites I came across listed Psycho as one of the greatest of it’s time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n&nbsp;\r\n\r\nCrowley, Matt. \"Psycho.\" <em>Teen Ink</em> 16.1 (2004): 34. <em>MAS Ultra - School Edition</em>. Web. 8 Nov. 2011.\r\n\r\nThis article has brief views of a few different movies, including Psycho. I used this for today’s reception of the film.\r\n\r\n&nbsp;\r\n\r\nKolker, Robert Phillip. <em>Alfred Hitchcock\'s Psycho: a casebook</em>. Oxford University Press, 2004. eBook.\r\n\r\nThis book is a collection of essays over Psycho from its inception, reception, music, and more. I used this for its initial reception.\r\n\r\n&nbsp;\r\n\r\nLeitch, Thomas M. \"101 Ways To Tell Hitchcock\'s Psycho From Gus Van Sant\'s.\" <em>Literature Film Quarterly</em> 28.4 (2000): 269. <em>Academic Search Complete</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article discussing the differences between Hitchcock’s Psycho and its remake by Gus Van Sant. I used this article for comparing and contrasting.\r\n\r\n&nbsp;\r\n\r\nMirsky, Mark Jay. \"Kennedy On The Mount Of Olives.\" <em>Massachusetts</em><em> Review</em> 45.1 (2004): 160-177. <em>World History Collection</em>. Web. 8 Nov. 2011.\r\n\r\nThis is an article about Kennedy’s impact. I used it for the historical context paragraph.\r\n\r\n&nbsp;\r\n\r\nSchneider, Steven. \"Manufacturing horror in (Alfred) Hitchcock\'s Psycho.\" <em>CineAction</em> 50 (1999): 70-5. <em>Literature</em><em> Resource Center</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article about Hitchcock and the horror scenes in his work Psycho. I used it for a description.\r\n\r\n&nbsp;\r\n\r\nShaw, Tony. \"Television News And Cold War Propaganda (Book).\" <em>Cold War History</em> 2.1 (2001): 174. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\r\n\r\nThis is a review of the book “U.S. Television News and <strong>Cold</strong><strong> </strong><strong>War</strong> Propaganda, 1947-1960.” I used it for a statistic about television during the Cold War for historical context.\r\n\r\n&nbsp;\r\n\r\nSkatssoon, Judy. \"Audiences Went Crazy For Hitchcock\'s Psycho.\" <em>Advertiser, The (Adelaide)</em> (2010): 44. <em>Newspaper Source</em>. Web. 3 Nov. 2011.\r\n\r\nThis is an article about critics of Psycho. I used this for reception then and today.\r\n\r\n&nbsp;\r\n\r\nVerevis., Constantine. \"Psycho (Redux).\" <em>Metro</em> 121/122 (2000): 144. <em>MasterFILE Premier</em>. Web. 8 Nov. 2011.\r\n<p style=\"text-align: left\" align=\"center\">This article is a review of van Sant’s Psycho. I used it for it’s reception.</p>','Hitchcock\'s Psycho','','inherit','open','open','','2118-revision-3','','','2011-11-21 18:45:17','2011-11-22 00:45:17','',2118,'http://jeanatacc.com/2011/?p=2122',0,'revision','',0),(2124,42,'2011-11-21 18:23:31','2011-11-22 00:23:31','<div class=\"mceTemp mceIEcenter\">\r\n<p dir=\"LTR\" align=\"CENTER\">Here is the theme song for M*A*S*H. \"Suicide Is Painless\" , by Johnny Mandel, was used as an instrumental at the beginning of the movie and then played on a guitar with the words in this scene. \"Jawbreaker is unable to have sex with a gorgeous nurse and decides that it is probably because he has always been gay. He believes his life will be too hard if he has to live it as a gay man and decides to commit suicide. The three star surgeons of the movie intervene at the chaplain’s request and stage a fake suicide for him by giving him a \"Last Supper\" and giving him the \"Black Pill\".  To hear the entire song and see the a portion of the scene, go to the link below.  The entire clip is less than 3 minutes.</p>\r\n<a href=\"http://www.youtube.com/watch?v=BVUXPjFWfX4\">http://www.youtube.com/watch?v=BVUXPjFWfX4</a>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H has three important lessons that it is imperative that we preserve for the future. The first is that humor is a formidable weapon. The second is that all of us have the free will and responsibility to question authority. Third, \"there are no victors in war, only victims\" (Fiero, 418). Throughout the film images of the real life results of war and the way that a M*A*S*H unit during the Korean war deals with the fallout are juxtaposed. No matter  where human beings go, we carry the potential for violence. Our people, generation after generation need to learn and remember that they cannot be sheep in the play of life. They must always use humor and compassion to question authority and to reach a consensus among themselves.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was originally a book written by Richard Hooker about his real-life experiences as a surgeon during the Korean War. It was entitled \"MASH: A Novel About Three Army Doctors\". During the Korean War, surgeons and medical personnel were in short supply, so they were drafted into the United States Army to serve overseas. Some of them ended up in Mobile Army Surgical Hospitals (M.A.S.H. for short). Typically, these units set up in tents and removable buildings within three to five miles of the front lines.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Ring Lardner read the book and was inspired to write the screenplay. \"Fifteen Hollywood directors turned down making it (a movie) because, they felt that the screenplay lacked the necessary coherence to give the movie a clear and strong narrative momentum\" (Monaco, 197-198). Stanley Kubrick was among the directors who rejected it (Gilby, 122). Robert Altman read the script, loved it and elected to direct it for Twentieth Century Fox. M*A*S*H was released to the public in 1970.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The movie starred Donald Sutherland as \"Hawkeye\", Elliott Gould as \"Trapper John\" and Tom Skerritt as Duke. These three young and rather inexperienced new faces, at the time, played the drafted surgeons who are the main characters in the movie. The story follows them through short vignettes of serious surgery followed by short scenes of the way they try to maintain their sanity in an insane situation called war. One short section of the film may highlight the surgeons hands inside the chest cavity of a wounded soldier. The next scene might be the set-up of \"Hot Lips\" Houlihan, played by Sally Kellerman, to settle a bet between the surgeons. They want to find out if \"Hot Lips\" is a natural blond. At all times, the film highlights the dysfunction of the army and the rebellious behavior of the young doctors who know they are above reprimand because they are too valuable for the army to discipline. Even though the doctors act in sacrilegious and disrespectful ways, they maintain their respect for human life. Their medical oaths are taken seriously for everyone, no matter which side of the conflict they come from. Scenes of silliness and hilarity are interrupted by incoming helicopters bearing the wounded.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"By the 1960’s, the events of a war in the jungles of Vietnam were being relayed via electronic satellite in American living rooms. \"In 1969, in a live telecast, the world saw the first astronauts walk on the surface of the moon\" (Fiero, 479). In South Africa, Christian Barnard performed the first heart-transplant surgery in 1967. But, despite the technological advances of the Information Age and the hopes they engendered, the mood in the United States was gloomy. \"Named the \"Me Decade\" by journalist Tom Wolfe in 1976, the 1970’s were seen as a time of growing individuality and diminished civic engagement.\" \"Economically, politically, and socially, the decade was marked by growing cynicism and uncertainty as Americans questioned the integrity of their political leaders and institutions\" (Batchelor). The economy was slowing down, unemployment was increasing and all around were people, young people in particular, who were growing more disillusioned and dissatisfied with the role the United States was playing in Vietnam. Protests, spearheaded by students who didn’t believe in the \"civil action\" but, could be drafted to fight and die at any time, bloomed on college campuses nationwide.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">This climate of disillusionment and cynicism propagated a form of writing that grew popular in the 1960’ and 70’s. Satire and sarcasm were used to make fun of institutions and individuals. \"Gallows humor evoked laughter at what was hideous and awful\" (Fiero, 418). Much of the fiction of the time focussed on the depersonalization of the individual and the ability of humans to destroy each other. \"Catch 22\", a book written by Joseph Heller (1923-1999) in 1955, was one of the first of this genre. In it, \"Heller describes \"the humbug hypocrisy, cruelty and sheer stupidity of our mass society\" (Fiero, 418). Out of this tradition comes the movie M*A*S*H.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H, as directed by Robert Altman, was produced with the same philosophy that Heller used fifteen years earlier in his book. As the characters in M*A*S*H \"try to preserve their identity and their sanity, they became the enemies of the very authorities that sent them to war\". (Fiero, 419) \"Altman was known at the time, in the industry, as a brash and loud-mouthed liberal who voiced a strong contempt for authority\" (Monaco, 198).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">As heard in an interview with Altman and others, (included in the Collectors Edition of M*A*S*H in 2005), Altman made the movie a deliberate protest against the \"war in Vietnam and war in general\". (Fiero, 495) Altman and the people that helped him film the movie, lived in fear that Twentieth Century Fox would find out what they were really doing and shut them down. Twentieth Century believed that it as a war movie that had some laughs in it. Altman hid all references to Korea in the film. In one scene that visits a supposed village in Korea, Altman has extras wearing the conical hats that are worn in Vietnam and not in Korea.  (M*A*S*H: Collectors Edition, 2) Altman produced M*A*S*H as an anti-war film.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The art of film-making is constantly evolving. 1970 was no different in this respect. Altman’s contribution to the world of movies is called \"overlaid\" sound. At the opening of the movie are two lines of overlapping dialogue spoken at the same time. During the movie, background noises and conversations overlapping, birds singing and jets flying over are audible. The camp loud-speaker may be heard to announce that a movie will be shown that evening or blare Japanese takeoffs on American swing music while the main character is speaking. The colonel and Radar often speak the same lines at nearly the same time.  Radar always speaks just ahead of the colonel This underscores the confusion about who is really in charge. Altman’s innovation produced a more true to life experience and helped emphasize the points he wanted to make. Hearing ten different conversations in the surgery, while young soldiers hang between life and death on tables and hands and fingers work to save them, adds to the chaos and confusion. Hearing a jet fly over, during an otherwise silly conversation, reminds the viewer of where the speakers are and the seriousness of why they are there. Those jets are carrying bombs. People are going to die.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was filmed near Santa Monica, California. Altman hired a cast of improvisational actors he found performing at a nearby theatre to play the extras in his movie. They were encouraged to make conversation as their characters might if it were a real situation. Altman allowed the actors to improvise on the spot. Ring Larder, Jr. was heard more that once, yelling at Altman because Altman wasn’t following Lardner’s script. Altman \"used long lenses, slow zooms and tiny microphones to ambush his performers  -  to catch them accidentally being natural\" (Gilby 123).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was an instant success when it hit movie theaters in 1970. \"That M*A*S*H was\" Altman’s \"breakthrough movie had as much to do with synchronicity as quality.\" (Gilby, 122) The time was ripe for a movie that Fiero wrote was a \"biting satire on war in general\" and classified it with others in a genre she called \"Social Conscience\" films. (Fiero, 495) M*A*S*H was a nominee at the Oscars for best picture and best film editing in 1971. Ring Lardner, Jr. won an Oscar for best screen writing. \"A popular television series, part comedy and part drama, also named M*A*S*H, spun off from the film\" (Roman) and ran from 1972 until 1984; twelve years.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">I saw the movie, in a theater, in 1970. I was a high school student in my Junior year. I had read Time magazine and seen the news. I knew about the protests against the war. Everywhere were signs that the Information Age was having a profound effect on our society and way of life. When I came out of that movie I was beyond words. The amount of blood, the broken bodies of young men, the sexual freedom and independence of the nurses, the complete disregard for army authority and the constant chaos of helicopters, loud-speakers and over-lapping conversations shocked me. I was forever changed by the depictions of a surgical arena filled with surgeons and their patients, the shortages of medical supplies, and the honest caring of the doctors for those who came to be on their tables. James Roman wrote it for me in his article entitled M*A*S*H. \"War is never pretty and its visual imagery is fraught with controversy and concern. Altman (bathed) his satire within the context of humor, which makes an even more profound statement on the destructiveness of these ritualistic moral constructs. It (M*A*S*H) is a timeless portrait of disdain for the ineptness of leadership and the costs endured.\" I could not have said that at the time, but I did know it on some level when I came out of that theater back in 1970. In vivid, bloody color, Altman’s humor had taught me what my life experience hadn’t gotten to yet.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In 1931 Charles Chaplin (1889-1977) took a tour around the world. He visited many countries including Germany. He became very concerned with what he saw. He said he wrote \"The Great Dictator\" (1940) because, he couldn’t write anything else at the time.  He said, \"And now another war was brewing and I was trying to write a story for Paulette (Paulette Goddard, a popular young actress of the time and also an ex-wife of Chaplin’s) but, I could make no progress. How could I throw myself into feminine whimsy or think of romance...when madness was being stirred up by a hideous, grotesque, Adolph Hitler\" He later wrote that \"Had I known of the actual horrors of the German concentration camps, I could not have made \"The Great Dictator\"; I could not have made fun of the homicidal insanity of the Nazis.\" (Vance, 236)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The United States’ attitude, during the 1930’s was one of conciliation and appeasement. Hollywood was afraid of insulting the Germans, because they didn’t want to lose the German market. Maybe, Chaplin made the movie as a reaction to a piece of German propaganda that reached him. The propaganda called him a Jew and a bore, Chaplin wrote, starred in and directed the film despite Hollywood’s reticence.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">People had noticed Chaplin’s likeness to Hitler for a long time. It was rumored that Hitler adopted Chaplin’s mustache because of Chaplin’s well loved character in \"The Tramp\". Giant X’s replace the swastikas and Chaplin’s character’s name was Adenoid Hynkel, dictator of Tomania. Chaplin made his opinions known by choosing actors who closely resembled Hitler’s top aides and then naming them Herring and Garbitsch. (Vance, 240)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"The Great Dictator\" is a tale of two worlds: the palace, where the dictator rules, and the ghetto, where the Jewish barber lives.\" \"The comedic device in the film is the resemblance between the dictator and the barber.\" \"The theme of the story, at its  basic level is the struggle between good and evil\" (Vance, 240) Both M*A*S*H and \"The Great Dictator\" are meant to be pointed jabs at wars and the human machinery that cause wars. \"The Great Dictator\" was made before the United States got involved with WWII. M*A*S*H was made while the U.S. was embroiled in conflicts in Vietnam. While Chaplin directly satirized Hitler and his cohorts. Altman chose quips and keystone cop-like antics to make fun of the \"brass\". Charlie Chaplin’s story is about good and evil and portray Hynkel as evil. Altman’s movie chooses a broader brush and paints with a lot of gray, the various personalities that are found on any army base. While Chaplin gives Hitler a direct hit, Altman skirts around issues and gives glimpses of his opinions by using only the visual shots of the surgery itself to bring his pointst home. One of the memorable lines from \"The Great Dictator\" is, \"life would be wonderful if people would leave you alone\". In M*A*S*H, \"Hot Lips\" Houlihan asks how such a disrespectful and unmilitary man could be promoted to Head Surgeon. A corpsman on the side is heard to say, \"He was drafted.\"</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Chaplin took whatever information he had about Hitler and then exagerated it so that it was a close approximation to the reality, but twisted and misnamed, to expose it to ridicule. Altman chose scenes of blood and gore, men moaning and crying out, overlaid by a the loud-speaker announcing that \"marijuana is a dangerous drug.\" Chaplin’s humor was up front and in your face. It was typical of the era, when people didn’t quite know yet how to watch a movie and they were treated that way. Altman’s films require thinking and noticing the details. So much of what Altman did is packed and overlaid so densely with lines and symbols that it requires more than one viewing to understand the full significance of what is happening in any one scene. Chaplin’s film seems simple in comparison. Both of the movies use slapstick comedy.</p>\r\n<p style=\"text-align: left\">A copy of M*A*S*H, and in particular \"M*A*S*H: Collectors Edition\", should be included in the 2100 Time Capsule. It’s method of production and humor are timeless. The message is one that should be repeated over and over. People who have been through a war often believe in their side of the story, but they seem to forget very quickly what this type of engagement costs everyone. When the message is presented in visual form, with the humor aimed at those who keep the machinery of war well oiled, the moral of the story cannot be forgotten. Our children, and all the generations to come, need a reminder of where we come from and why. They need to always be mindful that as Fiero writes, \"There are no victors in war, only victims.\" Human beings, who leave this Earth in the 2100 Space Capsule, need to question authority, debate everything, come to a consensus of opinion and always, always, keep a sense of humor about it all.  M*A*S*H can be a lesson and reminder to future generations. It must be included in the 2100 Time Capsule.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\">Works Cited</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Batchelor, Bob. \"Introduction to the 1970’s (Overview).\" <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. <em>The Humanistic Tration: The Early Modern World to the Present</em>. 6th Ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Gilbey, Ryan <em>It Don’t Worry Me: The Revolutioary American Films of the Seventies </em>New York: Faber and Faber, Inc. 3002. Print. \"Plot summary for MASH\" <em>IMDb</em> Amazon.com, n.d. Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H:Collectors Edition.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Dir. Robert Altman. Perf. Donald Sutherland, Elliott Gould, Tom Skerritt and Sally Kellerman. 1969 Twentieth Century Fox, 2005 DVD. Two Disc Set.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Monaco, Paul. <em>History of American Movies: A Film-By-Film Look At The Art, Craft, and Business Of Cinema</em>. Scarecrow Press, 2010. eBook Collection <em>(EBSCOhost). </em>Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Roman, James. \"M*A*S*H(Film, 1970) <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Vance, Jeffrey. <em>Chaplin: genius of the cinema </em>New York: Harry N. Abrams. 2003. Print.</p>\r\n&nbsp;\r\n\r\n</div>','M*A*S*H: The Movie','','inherit','open','open','','2113-revision-2','','','2011-11-21 18:23:31','2011-11-22 00:23:31','',2113,'http://jeanatacc.com/2011/?p=2124',0,'revision','',0),(2125,42,'2011-11-21 18:51:48','2011-11-22 00:51:48','<div class=\"mceTemp mceIEcenter\">\r\n<p dir=\"LTR\" align=\"CENTER\">Here is the theme song for M*A*S*H. \"Suicide Is Painless\" , by Johnny Mandel. It was used as an instrumental at the beginning of the movie and then sung with the words to a guitar accompaniment in this scene. \"Jawbreaker\" is unable to have sex with a gorgeous nurse and decides that it is probably because he has always been gay. He believes his life will be too hard if he has to live it as a gay man and decides to commit suicide. The three star surgeons of the movie intervene at the chaplain’s request and stage a fake suicide for him by giving him a \"Last Supper\" and the \"Black Pill\".  To hear the entire song and see a portion of the scene, go to the link below.  The entire clip is less than 3 minutes.</p>\r\n<a href=\"http://www.youtube.com/watch?v=BVUXPjFWfX4\">http://www.youtube.com/watch?v=BVUXPjFWfX4</a>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H has three important lessons that it is imperative that we preserve for the future. The first is that humor is a formidable weapon. The second is that all of us have the free will and responsibility to question authority. Third, \"there are no victors in war, only victims\" (Fiero, 418). Throughout the film, images of the real life results of war and the way that a M*A*S*H unit during the Korean war deals with the fallout are juxtaposed. No matter  where human beings go, we carry the potential for violence. Our people, generation after generation need to learn and remember that they cannot be sheep in the play of life. They must always use humor and compassion to question authority and to reach a consensus among themselves. They must never forget the results of war.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was originally a book written by Richard Hooker about his real-life experiences as a surgeon during the Korean War. It was entitled \"MASH: A Novel About Three Army Doctors\". During the Korean War, surgeons and medical personnel were in short supply, so they were drafted into the United States Army to serve overseas. Some of them ended up in Mobile Army Surgical Hospitals (M.A.S.H. for short). Typically, these units set up in tents and removable buildings within three to five miles of the front lines.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Ring Lardner read the book and was inspired to write the screenplay. \"Fifteen Hollywood directors turned down making it (a movie) because, they felt that the screenplay lacked the necessary coherence to give the movie a clear and strong narrative momentum\" (Monaco, 197-198). Stanley Kubrick was among the directors who rejected it (Gilby, 122). Robert Altman read the script, loved it and elected to direct it for Twentieth Century Fox. M*A*S*H was released to the public in 1970.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The movie starred Donald Sutherland as \"Hawkeye\", Elliott Gould as \"Trapper John\" and Tom Skerritt as Duke. These three young and rather inexperienced new faces, at the time, played the drafted surgeons who were the main characters in the movie. The story follows them through short vignettes of serious surgery followed by short scenes of the way they try to maintain their sanity in an insane situation called war. One short section of the film may highlight the surgeons hands inside the chest cavity of a wounded soldier. The next scene might be the set-up of \"Hot Lips\" Houlihan, played by Sally Kellerman, to settle a bet between the surgeons. They want to find out if \"Hot Lips\" is a natural blond. At all times, the film highlights the dysfunction of the army and the rebellious behavior of the young doctors who know they are above reprimand because they are too valuable for the army to discipline. Even though the doctors act in sacrilegious and disrespectful ways, they maintain their respect for human life. Their medical oaths are taken seriously for everyone, no matter which side of the conflict they come from. Scenes of silliness and hilarity are interrupted by incoming helicopters bearing the wounded.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"By the 1960’s, the events of a war in the jungles of Vietnam were being relayed via electronic satellite in American living rooms.\" \"In 1969, in a live telecast, the world saw the first astronauts walk on the surface of the moon\" (Fiero, 479). In South Africa, Christian Barnard performed the first heart-transplant surgery in 1967. But, despite the technological advances of the Information Age and the hopes they engendered, the mood in the United States was gloomy. \"Named the \"Me Decade\" by journalist Tom Wolfe in 1976, the 1970’s were seen as a time of growing individuality and diminished civic engagement.\" \"Economically, politically, and socially, the decade was marked by growing cynicism and uncertainty as Americans questioned the integrity of their political leaders and institutions\" (Batchelor). The economy was slowing down, unemployment was increasing and all around were people, young people in particular, who were growing more disillusioned and dissatisfied with the role the United States was playing in Vietnam. Protests, spearheaded by students who didn’t believe in the \"civil action\" but, could be drafted to fight and die at any time, bloomed on college campuses nationwide.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">This climate of disillusionment and cynicism propagated a form of writing that grew popular in the 1960’s and 70’s. Satire and sarcasm were used to make fun of institutions and individuals. \"Gallows humor evoked laughter at what was hideous and awful\" (Fiero, 418). Much of the fiction of the time focused on the depersonalization of the individual and the ability of humans to destroy each other. \"Catch 22\", a book written by Joseph Heller (1923-1999) in 1955, was one of the first of this genre. In it, \"Heller describes \"the humbug hypocrisy, cruelty and sheer stupidity of our mass society\" (Fiero, 418). Out of this tradition comes the movie M*A*S*H.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H, as directed by Robert Altman, was produced with the same philosophy that Heller used fifteen years earlier in his book. As the characters in M*A*S*H \"try to preserve their identity and their sanity, they became the enemies of the very authorities that sent them to war\". (Fiero, 419) \"Altman was known at the time, in the industry, as a brash and loud-mouthed liberal who voiced a strong contempt for authority\" (Monaco, 198).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">As heard in an interview with Altman and others, (included in the Collectors Edition of M*A*S*H in 2005), Altman made the movie a deliberate protest against the \"war in Vietnam and war in general\". (Fiero, 495) Altman and the people that helped him film the movie, lived in fear that Twentieth Century Fox would find out what they were really doing and shut them down. Twentieth Century believed that it was a war movie that had some laughs in it. Altman hid all references to Korea in the film. In one scene, that visits a supposed village in Korea, Altman has extras wearing the conical hats that are worn in Vietnam and not in Korea.  (M*A*S*H: Collectors Edition, 2) Altman produced M*A*S*H as an anti-war film.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The art of film-making is constantly evolving. 1970 was no different in this respect. Altman’s contribution to the world of movies is called \"overlaid\" sound. At the opening of the movie are two lines of overlapping dialogue spoken at the same time. During the movie, background noises and conversations overlap, birds singing and jets flying over are audible. The camp loud-speaker may be heard to announce that a movie will be shown that evening or blare Japanese takeoffs on American swing music while the main character is speaking. The colonel and Radar often speak the same lines at nearly the same time.  Radar always speaks just ahead of the colonel This underscores the confusion about who is really in charge. Altman’s innovation produced a more true to life experience and helped emphasize the points he wanted to make. Hearing ten different conversations in the surgery, while young soldiers hang between life and death on tables and surgeions hands work to save them, adds to the chaos and confusion. Hearing a jet fly over, during an otherwise silly conversation, reminds the viewer of where the speakers are and the seriousness of why they are there. Those jets are carrying bombs. People are going to die.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was filmed near Santa Monica, California. Altman hired a cast of improvisational actors he found performing at a nearby theatre to play the extras in his movie. They were encouraged to make conversation as their characters might if it were in a real situation. Altman allowed the actors to improvise on the spot. Ring Larder, Jr. was heard more that once, yelling at Altman because, Altman wasn’t following Lardner’s script. Altman \"used long lenses, slow zooms and tiny microphones to ambush his performers  -  to catch them accidentally being natural\" (Gilby 123).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was an instant success when it hit movie theaters in 1970. \"That M*A*S*H was\" Altman’s \"breakthrough movie had as much to do with synchronicity as quality.\" (Gilby, 122) The time was ripe for a movie that Fiero wrote was a \"biting satire on war in general\" and classified it with others in a genre she called \"Social Conscience\" films. (Fiero, 495) M*A*S*H was a nominee at the Oscars for best picture and best film editing in 1971. Ring Lardner, Jr. won an Oscar for best screen writing. \"A popular television series, part comedy and part drama, also named M*A*S*H, spun off from the film\" (Roman) and ran from 1972 until 1984; twelve years.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">I saw the movie, in a theater, in 1970. I was a high school student in my Junior year. I had read Time magazine and seen the news. I knew about the protests against the war. Everywhere were signs that the Information Age was having a profound effect on our society and way of life. When I came out of that movie I was beyond words. The amount of blood, the broken bodies of young men, the sexual freedom and independence of the nurses, the complete disregard for army authority and the constant chaos of helicopters, loud-speakers and over-lapping conversations shocked me. I was forever changed by the depictions of a surgical arena filled with surgeons and their patients, the shortages of medical supplies, and the honest caring of the doctors for those who came to be on their tables. James Roman wrote it for me in his article entitled M*A*S*H. \"War is never pretty and its visual imagery is fraught with controversy and concern. Altman (bathed) his satire within the context of humor, which makes an even more profound statement on the destructiveness of these ritualistic moral constructs. It (M*A*S*H) is a timeless portrait of disdain for the ineptness of leadership and the costs endured.\" I could not have said that, at the time but, I did know it on some level when I came out of that theater back in 1970. In vivid, bloody color, Altman’s humor had taught me what my life experience hadn’t gotten to yet.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In 1931 Charles Chaplin (1889-1977) took a tour around the world. He visited many countries including Germany. He became very concerned with what he saw. He said he wrote \"The Great Dictator\" (1940) because, he couldn’t write anything else at the time.  He said, \"And now another war was brewing and I was trying to write a story for Paulette (Paulette Goddard, a popular young actress of the time and also an ex-wife of Chaplin’s) but, I could make no progress. How could I throw myself into feminine whimsy or think of romance...when madness was being stirred up by a hideous, grotesque, Adolph Hitler\" He later wrote that \"Had I known of the actual horrors of the German concentration camps, I could not have made \"The Great Dictator\"; I could not have made fun of the homicidal insanity of the Nazis.\" (Vance, 236)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The United States’ attitude, during the 1930’s was one of conciliation and appeasement. Hollywood was afraid of insulting the Germans, because they didn’t want to lose the German market. Maybe, Chaplin made the movie as a reaction to a piece of German propaganda that reached him. The propaganda called him a Jew and a bore. Chaplin proceeded to write, direct and star in \"The Great Dictator\"  despite Hollywood’s reticence.\"The Great Dictator\" is a tale of two worlds: the palace, where the dictator rules, and the ghetto, where the Jewish barber lives.\" \"The comedic device in the film is the resemblance between the dictator and the barber.\"  People had noticed Chaplin’s likeness to Hitler for a long time. It was rumored that Hitler adopted Chaplin’s mustache because of Chaplin’s well loved character in \"The Tramp\". Giant X’s replace the swastikas and Chaplin’s character’s name was Adenoid Hynkel, dictator of Tomania. \"The theme of the story, at its basic level was the struggle between good and evil\" (Vance, 240)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Both M*A*S*H and \"The Great Dictator\" are meant to be pointed jabs at wars and the human machinery that cause wars. \"The Great Dictator\" was made before the United States got involved with WWII. M*A*S*H was made while the U.S. was embroiled in conflicts in Vietnam. While Chaplin directly satirized Hitler and his cohorts. Altman chose quips and keystone cop-like antics to make fun of the \"brass\". Charlie Chaplin’s story is about good and evil and portrays Hynkel as idiotic and evil. Altman’s movie chooses a broader brush and paints with a lot of gray the various personalities that are found on any army base. While Chaplin gives Hitler a direct hit, Altman skirts around issues and gives glimpses of his opinions by using only the visual shots of the surgery itself to bring his points home. One of the memorable lines from \"The Great Dictator\" is, \"life would be wonderful if people would leave you alone\". In M*A*S*H, \"Hot Lips\" Houlihan asks how such a disrespectful and unmilitary man could be promoted to Head Surgeon. A corpsman on the side is heard to say, \"He was drafted.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Chaplin made his opinions known by choosing actors who closely resembled Hitler’s top aides and then naming them Herring and Garbitsch. (Vance, 240) Chaplin took whatever information he had about Hitler and then exagerated it so that it was a close approximation to the reality, but twisted it and misnamed it, to expose it to ridicule. Altman chose scenes of blood and gore, men moaning and crying out, overlaid by a the loud-speaker announcing that \"marijuana is a dangerous drug.\" Chaplin’s humor was up front and in your face. It was typical of the era. People didn’t quite know yet how to watch a movie and they were treated that way. Altman’s films require thinking and noticing the details. So much of what Altman did is packed and overlaid so densely with lines and symbols, that it requires more than one viewing to understand the full significance of what is happening in any one scene. Chaplin’s film seems simple in comparison. Both of the movies use slapstick comedy.</p>\r\n<p style=\"text-align: left\">A copy of M*A*S*H, and in particular \"M*A*S*H: Collectors Edition\", should be included in the 2100 Time Capsule. It’s method of production and humor are timeless. The message is one that should be repeated over and over. People who have been through a war believe in their side of the story, but they seem to forget very quickly what this type of engagement costs everyone. When the message is presented in visual form, with the humor aimed at those who keep the machinery of war well oiled, the moral of the story cannot be forgotten. Our children, and all the generations to come, need a reminder of where we come from and why. They need to always be mindful that as Fiero writes, \"There are no victors in war, only victims.\" Human beings, who leave this Earth in the 2100 Space Capsule, need to question authority, debate everything, come to a consensus of opinion and always, always, keep a sense of humor about it all.  They must never forget the results of war. M*A*S*H can be a lesson and reminder to future generations. It must be included in the 2100 Time Capsule.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">Works Cited</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Batchelor, Bob. \"Introduction to the 1970’s (Overview).\" <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. <em>The Humanistic Tration: The Early Modern World to the Present</em>. 6th Ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Gilbey, Ryan <em>It Don’t Worry Me: The Revolutioary American Films of the Seventies </em>New York: Faber and Faber, Inc. 3002. Print. \"Plot summary for MASH\" <em>IMDb</em> Amazon.com, n.d. Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H:Collectors Edition.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Dir. Robert Altman. Perf. Donald Sutherland, Elliott Gould, Tom Skerritt and Sally Kellerman. 1969 Twentieth Century Fox, 2005 DVD. Two Disc Set.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Monaco, Paul. <em>History of American Movies: A Film-By-Film Look At The Art, Craft, and Business Of Cinema</em>. Scarecrow Press, 2010. eBook Collection <em>(EBSCOhost). </em>Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Roman, James. \"M*A*S*H(Film, 1970) <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Vance, Jeffrey. <em>Chaplin: genius of the cinema </em>New York: Harry N. Abrams. 2003. Print.</p>\r\n&nbsp;\r\n\r\n</div>','M*A*S*H: The Movie','','inherit','open','open','','2113-revision-3','','','2011-11-21 18:51:48','2011-11-22 00:51:48','',2113,'http://jeanatacc.com/2011/?p=2125',0,'revision','',0),(2126,42,'2011-11-21 18:57:35','2011-11-22 00:57:35','<div class=\"mceTemp mceIEcenter\">\r\n<p dir=\"LTR\" align=\"CENTER\">Here is the theme song for M*A*S*H. \"Suicide Is Painless\" , by Johnny Mandel. It was used as an instrumental at the beginning of the movie and then sung with the words to a guitar accompaniment in this scene. \"Jawbreaker\" is unable to have sex with a gorgeous nurse and decides that it is probably because he has always been gay. He believes his life will be too hard if he has to live it as a gay man and decides to commit suicide. The three star surgeons of the movie intervene at the chaplain’s request and stage a fake suicide for him by giving him a \"Last Supper\" and the \"Black Pill\".  To hear the entire song and see a portion of the scene, go to the link below.  The entire clip is less than 3 minutes.</p>\r\n<p><a href=\"http://www.youtube.com/watch?v=BVUXPjFWfX4\">http://www.youtube.com/watch?v=BVUXPjFWfX4</a></p>\r\n<p>&nbsp;</p>\r\n<p>&nbsp;</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H has three important lessons that it is imperative that we preserve for the future. The first is that humor is a formidable weapon. The second is that all of us have the free will and responsibility to question authority. Third, \"there are no victors in war, only victims\" (Fiero, 418). Throughout the film, images of the real life results of war and the way that a M*A*S*H unit during the Korean war deals with the fallout are juxtaposed. No matter  where human beings go, we carry the potential for violence. Our people, generation after generation need to learn and remember that they cannot be sheep in the play of life. They must always use humor and compassion to question authority and to reach a consensus among themselves. They must never forget the results of war.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was originally a book written by Richard Hooker about his real-life experiences as a surgeon during the Korean War. It was entitled \"MASH: A Novel About Three Army Doctors\". During the Korean War, surgeons and medical personnel were in short supply, so they were drafted into the United States Army to serve overseas. Some of them ended up in Mobile Army Surgical Hospitals (M.A.S.H. for short). Typically, these units set up in tents and removable buildings within three to five miles of the front lines.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Ring Lardner read the book and was inspired to write the screenplay. \"Fifteen Hollywood directors turned down making it (a movie) because, they felt that the screenplay lacked the necessary coherence to give the movie a clear and strong narrative momentum\" (Monaco, 197-198). Stanley Kubrick was among the directors who rejected it (Gilby, 122). Robert Altman read the script, loved it and elected to direct it for Twentieth Century Fox. M*A*S*H was released to the public in 1970.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The movie starred Donald Sutherland as \"Hawkeye\", Elliott Gould as \"Trapper John\" and Tom Skerritt as Duke. These three young and rather inexperienced new faces, at the time, played the drafted surgeons who were the main characters in the movie. The story follows them through short vignettes of serious surgery followed by short scenes of the way they try to maintain their sanity in an insane situation called war. One short section of the film may highlight the surgeons hands inside the chest cavity of a wounded soldier. The next scene might be the set-up of \"Hot Lips\" Houlihan, played by Sally Kellerman, to settle a bet between the surgeons. They want to find out if \"Hot Lips\" is a natural blond. At all times, the film highlights the dysfunction of the army and the rebellious behavior of the young doctors who know they are above reprimand because they are too valuable for the army to discipline. Even though the doctors act in sacrilegious and disrespectful ways, they maintain their respect for human life. Their medical oaths are taken seriously for everyone, no matter which side of the conflict they come from. Scenes of silliness and hilarity are interrupted by incoming helicopters bearing the wounded.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"By the 1960’s, the events of a war in the jungles of Vietnam were being relayed via electronic satellite in American living rooms.\" \"In 1969, in a live telecast, the world saw the first astronauts walk on the surface of the moon\" (Fiero, 479). In South Africa, Christian Barnard performed the first heart-transplant surgery in 1967. But, despite the technological advances of the Information Age and the hopes they engendered, the mood in the United States was gloomy. \"Named the \"Me Decade\" by journalist Tom Wolfe in 1976, the 1970’s were seen as a time of growing individuality and diminished civic engagement.\" \"Economically, politically, and socially, the decade was marked by growing cynicism and uncertainty as Americans questioned the integrity of their political leaders and institutions\" (Batchelor). The economy was slowing down, unemployment was increasing and all around were people, young people in particular, who were growing more disillusioned and dissatisfied with the role the United States was playing in Vietnam. Protests, spearheaded by students who didn’t believe in the \"civil action\" but, could be drafted to fight and die at any time, bloomed on college campuses nationwide.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">This climate of disillusionment and cynicism propagated a form of writing that grew popular in the 1960’s and 70’s. Satire and sarcasm were used to make fun of institutions and individuals. \"Gallows humor evoked laughter at what was hideous and awful\" (Fiero, 418). Much of the fiction of the time focused on the depersonalization of the individual and the ability of humans to destroy each other. \"Catch 22\", a book written by Joseph Heller (1923-1999) in 1955, was one of the first of this genre. In it, \"Heller describes \"the humbug hypocrisy, cruelty and sheer stupidity of our mass society\" (Fiero, 418). Out of this tradition comes the movie M*A*S*H.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H, as directed by Robert Altman, was produced with the same philosophy that Heller used fifteen years earlier in his book. As the characters in M*A*S*H \"try to preserve their identity and their sanity, they became the enemies of the very authorities that sent them to war\". (Fiero, 419) \"Altman was known at the time, in the industry, as a brash and loud-mouthed liberal who voiced a strong contempt for authority\" (Monaco, 198).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">As heard in an interview with Altman and others, (included in the Collectors Edition of M*A*S*H in 2005), Altman made the movie a deliberate protest against the \"war in Vietnam and war in general\". (Fiero, 495) Altman and the people that helped him film the movie, lived in fear that Twentieth Century Fox would find out what they were really doing and shut them down. Twentieth Century believed that it was a war movie that had some laughs in it. Altman hid all references to Korea in the film. In one scene, that visits a supposed village in Korea, Altman has extras wearing the conical hats that are worn in Vietnam and not in Korea.  (M*A*S*H: Collectors Edition, 2) Altman produced M*A*S*H as an anti-war film.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The art of film-making is constantly evolving. 1970 was no different in this respect. Altman’s contribution to the world of movies is called \"overlaid\" sound. At the opening of the movie are two lines of overlapping dialogue spoken at the same time. During the movie, background noises and conversations overlap, birds singing and jets flying over are audible. The camp loud-speaker may be heard to announce that a movie will be shown that evening or blare Japanese takeoffs on American swing music while the main character is speaking. The colonel and Radar often speak the same lines at nearly the same time.  Radar always speaks just ahead of the colonel This underscores the confusion about who is really in charge. Altman’s innovation produced a more true to life experience and helped emphasize the points he wanted to make. Hearing ten different conversations in the surgery, while young soldiers hang between life and death on tables and surgeions hands work to save them, adds to the chaos and confusion. Hearing a jet fly over, during an otherwise silly conversation, reminds the viewer of where the speakers are and the seriousness of why they are there. Those jets are carrying bombs. People are going to die.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was filmed near Santa Monica, California. Altman hired a cast of improvisational actors he found performing at a nearby theatre to play the extras in his movie. They were encouraged to make conversation as their characters might if it were in a real situation. Altman allowed the actors to improvise on the spot. Ring Larder, Jr. was heard more that once, yelling at Altman because, Altman wasn’t following Lardner’s script. Altman \"used long lenses, slow zooms and tiny microphones to ambush his performers  -  to catch them accidentally being natural\" (Gilby 123).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was an instant success when it hit movie theaters in 1970. \"That M*A*S*H was\" Altman’s \"breakthrough movie had as much to do with synchronicity as quality.\" (Gilby, 122) The time was ripe for a movie that Fiero wrote was a \"biting satire on war in general\" and classified it with others in a genre she called \"Social Conscience\" films. (Fiero, 495) M*A*S*H was a nominee at the Oscars for best picture and best film editing in 1971. Ring Lardner, Jr. won an Oscar for best screen writing. \"A popular television series, part comedy and part drama, also named M*A*S*H, spun off from the film\" (Roman) and ran from 1972 until 1984; twelve years.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">I saw the movie, in a theater, in 1970. I was a high school student in my Junior year. I had read Time magazine and seen the news. I knew about the protests against the war. Everywhere were signs that the Information Age was having a profound effect on our society and way of life. When I came out of that movie I was beyond words. The amount of blood, the broken bodies of young men, the sexual freedom and independence of the nurses, the complete disregard for army authority and the constant chaos of helicopters, loud-speakers and over-lapping conversations shocked me. I was forever changed by the depictions of a surgical arena filled with surgeons and their patients, the shortages of medical supplies, and the honest caring of the doctors for those who came to be on their tables. James Roman wrote it for me in his article entitled M*A*S*H. \"War is never pretty and its visual imagery is fraught with controversy and concern. Altman (bathed) his satire within the context of humor, which makes an even more profound statement on the destructiveness of these ritualistic moral constructs. It (M*A*S*H) is a timeless portrait of disdain for the ineptness of leadership and the costs endured.\" I could not have said that, at the time but, I did know it on some level when I came out of that theater back in 1970. In vivid, bloody color, Altman’s humor had taught me what my life experience hadn’t gotten to yet.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In 1931 Charles Chaplin (1889-1977) took a tour around the world. He visited many countries including Germany. He became very concerned with what he saw. He said he wrote \"The Great Dictator\" (1940) because, he couldn’t write anything else at the time.  He said, \"And now another war was brewing and I was trying to write a story for Paulette (Paulette Goddard, a popular young actress of the time and also an ex-wife of Chaplin’s) but, I could make no progress. How could I throw myself into feminine whimsy or think of romance...when madness was being stirred up by a hideous, grotesque, Adolph Hitler\" He later wrote that \"Had I known of the actual horrors of the German concentration camps, I could not have made \"The Great Dictator\"; I could not have made fun of the homicidal insanity of the Nazis.\" (Vance, 236)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The United States’ attitude, during the 1930’s was one of conciliation and appeasement. Hollywood was afraid of insulting the Germans, because they didn’t want to lose the German market. Maybe, Chaplin made the movie as a reaction to a piece of German propaganda that reached him. The propaganda called him a Jew and a bore. Chaplin proceeded to write, direct and star in \"The Great Dictator\"  despite Hollywood’s reticence.\"The Great Dictator\" is a tale of two worlds: the palace, where the dictator rules, and the ghetto, where the Jewish barber lives.\" \"The comedic device in the film is the resemblance between the dictator and the barber.\"  People had noticed Chaplin’s likeness to Hitler for a long time. It was rumored that Hitler adopted Chaplin’s mustache because of Chaplin’s well loved character in \"The Tramp\". Giant X’s replace the swastikas and Chaplin’s character’s name was Adenoid Hynkel, dictator of Tomania. \"The theme of the story, at its basic level was the struggle between good and evil\" (Vance, 240)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Both M*A*S*H and \"The Great Dictator\" are meant to be pointed jabs at wars and the human machinery that cause wars. \"The Great Dictator\" was made before the United States got involved with WWII. M*A*S*H was made while the U.S. was embroiled in conflicts in Vietnam. While Chaplin directly satirized Hitler and his cohorts. Altman chose quips and keystone cop-like antics to make fun of the \"brass\". Charlie Chaplin’s story is about good and evil and portrays Hynkel as idiotic and evil. Altman’s movie chooses a broader brush and paints with a lot of gray the various personalities that are found on any army base. While Chaplin gives Hitler a direct hit, Altman skirts around issues and gives glimpses of his opinions by using only the visual shots of the surgery itself to bring his points home. One of the memorable lines from \"The Great Dictator\" is, \"life would be wonderful if people would leave you alone\". In M*A*S*H, \"Hot Lips\" Houlihan asks how such a disrespectful and unmilitary man could be promoted to Head Surgeon. A corpsman on the side is heard to say, \"He was drafted.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Chaplin made his opinions known by choosing actors who closely resembled Hitler’s top aides and then naming them Herring and Garbitsch. (Vance, 240) Chaplin took whatever information he had about Hitler and then exagerated it so that it was a close approximation to the reality, but twisted it and misnamed it, to expose it to ridicule. Altman chose scenes of blood and gore, men moaning and crying out, overlaid by a the loud-speaker announcing that \"marijuana is a dangerous drug.\" Chaplin’s humor was up front and in your face. It was typical of the era. People didn’t quite know yet how to watch a movie and they were treated that way. Altman’s films require thinking and noticing the details. So much of what Altman did is packed and overlaid so densely with lines and symbols, that it requires more than one viewing to understand the full significance of what is happening in any one scene. Chaplin’s film seems simple in comparison. Both of the movies use slapstick comedy.</p>\r\n<p style=\"text-align: left\">A copy of M*A*S*H, and in particular \"M*A*S*H: Collectors Edition\", should be included in the 2100 Time Capsule. It’s method of production and humor are timeless. The message is one that should be repeated over and over. People who have been through a war believe in their side of the story, but they seem to forget very quickly what this type of engagement costs everyone. When the message is presented in visual form, with the humor aimed at those who keep the machinery of war well oiled, the moral of the story cannot be forgotten. Our children, and all the generations to come, need a reminder of where we come from and why. They need to always be mindful that as Fiero writes, \"There are no victors in war, only victims.\" Human beings, who leave this Earth in the 2100 Space Capsule, need to question authority, debate everything, come to a consensus of opinion and always, always, keep a sense of humor about it all.  They must never forget the results of war. M*A*S*H can be a lesson and reminder to future generations. It must be included in the 2100 Time Capsule.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">Works Cited</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Batchelor, Bob. \"Introduction to the 1970’s (Overview).\" <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. <em>The Humanistic Tration: The Early Modern World to the Present</em>. 6th Ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Gilbey, Ryan <em>It Don’t Worry Me: The Revolutioary American Films of the Seventies </em>New York: Faber and Faber, Inc. 3002. Print. \"Plot summary for MASH\" <em>IMDb</em> Amazon.com, n.d. Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H:Collectors Edition.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Dir. Robert Altman. Perf. Donald Sutherland, Elliott Gould, Tom Skerritt and Sally Kellerman. 1969 Twentieth Century Fox, 2005 DVD. Two Disc Set.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Monaco, Paul. <em>History of American Movies: A Film-By-Film Look At The Art, Craft, and Business Of Cinema</em>. Scarecrow Press, 2010. eBook Collection <em>(EBSCOhost). </em>Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Roman, James. \"M*A*S*H(Film, 1970) <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Vance, Jeffrey. <em>Chaplin: genius of the cinema </em>New York: Harry N. Abrams. 2003. Print.</p>\r\n<p>&nbsp;</p>\r\n</div>\r\n','M*A*S*H: The Movie','','inherit','open','open','','2113-revision-4','','','2011-11-21 18:57:35','2011-11-22 00:57:35','',2113,'http://jeanatacc.com/2011/?p=2126',0,'revision','',0),(2127,42,'2011-11-21 19:02:47','2011-11-22 01:02:47','<div class=\"mceTemp mceIEcenter\">\r\n<div class=\"mceTemp mceIEcenter\">\r\n\r\n[caption id=\"attachment_2114\" align=\"aligncenter\" width=\"193\" caption=\"A promotional poster for the movie found at: http://www.mash4077tv.com/category/mash-the-movie/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/mash_ad_1970.jpg\"><img class=\"size-medium wp-image-2114\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/mash_ad_1970-193x300.jpg\" alt=\"Promotional Poster for M*A*S*H\" width=\"193\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n<p dir=\"LTR\" align=\"CENTER\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"CENTER\">Here is the theme song for M*A*S*H. \"Suicide Is Painless\", by Johnny Mandel. It was used as an instrumental at the beginning of the movie and then sung with the words to a guitar accompaniment in this scene. \"Jawbreaker\" is unable to have sex with a gorgeous nurse and decides that it is probably because he has always been gay. He believes his life will be too hard if he has to live it as a gay man and decides to commit suicide. The three star surgeons of the movie intervene at the chaplain’s request and stage a fake suicide for him by giving him a \"Last Supper\" and the \"Black Pill\".  To hear the entire song and see a portion of the scene, go to the link below.  The entire clip is less than 3 minutes.</p>\r\n<a href=\"http://www.youtube.com/watch?v=BVUXPjFWfX4\">http://www.youtube.com/watch?v=BVUXPjFWfX4</a>\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H has three important lessons that it is imperative that we preserve for the future. The first is that humor is a formidable weapon. The second is that all of us have the free will and responsibility to question authority. Third, \"there are no victors in war, only victims\" (Fiero, 418). Throughout the film, images of the real life results of war and the way that a M*A*S*H unit during the Korean war deals with the fallout are juxtaposed. No matter  where human beings go, we carry the potential for violence. Our people, generation after generation need to learn and remember that they cannot be sheep in the play of life. They must always use humor and compassion to question authority and to reach a consensus among themselves. They must never forget the results of war.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was originally a book written by Richard Hooker about his real-life experiences as a surgeon during the Korean War. It was entitled \"MASH: A Novel About Three Army Doctors\". During the Korean War, surgeons and medical personnel were in short supply, so they were drafted into the United States Army to serve overseas. Some of them ended up in Mobile Army Surgical Hospitals (M.A.S.H. for short). Typically, these units set up in tents and removable buildings within three to five miles of the front lines.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Ring Lardner read the book and was inspired to write the screenplay. \"Fifteen Hollywood directors turned down making it (a movie) because, they felt that the screenplay lacked the necessary coherence to give the movie a clear and strong narrative momentum\" (Monaco, 197-198). Stanley Kubrick was among the directors who rejected it (Gilby, 122). Robert Altman read the script, loved it and elected to direct it for Twentieth Century Fox. M*A*S*H was released to the public in 1970.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The movie starred Donald Sutherland as \"Hawkeye\", Elliott Gould as \"Trapper John\" and Tom Skerritt as Duke. These three young and rather inexperienced new faces, at the time, played the drafted surgeons who were the main characters in the movie. The story follows them through short vignettes of serious surgery followed by short scenes of the way they try to maintain their sanity in an insane situation called war. One short section of the film may highlight the surgeons hands inside the chest cavity of a wounded soldier. The next scene might be the set-up of \"Hot Lips\" Houlihan, played by Sally Kellerman, to settle a bet between the surgeons. They want to find out if \"Hot Lips\" is a natural blond. At all times, the film highlights the dysfunction of the army and the rebellious behavior of the young doctors who know they are above reprimand because they are too valuable for the army to discipline. Even though the doctors act in sacrilegious and disrespectful ways, they maintain their respect for human life. Their medical oaths are taken seriously for everyone, no matter which side of the conflict they come from. Scenes of silliness and hilarity are interrupted by incoming helicopters bearing the wounded.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"By the 1960’s, the events of a war in the jungles of Vietnam were being relayed via electronic satellite in American living rooms.\" \"In 1969, in a live telecast, the world saw the first astronauts walk on the surface of the moon\" (Fiero, 479). In South Africa, Christian Barnard performed the first heart-transplant surgery in 1967. But, despite the technological advances of the Information Age and the hopes they engendered, the mood in the United States was gloomy. \"Named the \"Me Decade\" by journalist Tom Wolfe in 1976, the 1970’s were seen as a time of growing individuality and diminished civic engagement.\" \"Economically, politically, and socially, the decade was marked by growing cynicism and uncertainty as Americans questioned the integrity of their political leaders and institutions\" (Batchelor). The economy was slowing down, unemployment was increasing and all around were people, young people in particular, who were growing more disillusioned and dissatisfied with the role the United States was playing in Vietnam. Protests, spearheaded by students who didn’t believe in the \"civil action\" but, could be drafted to fight and die at any time, bloomed on college campuses nationwide.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">This climate of disillusionment and cynicism propagated a form of writing that grew popular in the 1960’s and 70’s. Satire and sarcasm were used to make fun of institutions and individuals. \"Gallows humor evoked laughter at what was hideous and awful\" (Fiero, 418). Much of the fiction of the time focused on the depersonalization of the individual and the ability of humans to destroy each other. \"Catch 22\", a book written by Joseph Heller (1923-1999) in 1955, was one of the first of this genre. In it, \"Heller describes \"the humbug hypocrisy, cruelty and sheer stupidity of our mass society\" (Fiero, 418). Out of this tradition comes the movie M*A*S*H.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H, as directed by Robert Altman, was produced with the same philosophy that Heller used fifteen years earlier in his book. As the characters in M*A*S*H \"try to preserve their identity and their sanity, they became the enemies of the very authorities that sent them to war\". (Fiero, 419) \"Altman was known at the time, in the industry, as a brash and loud-mouthed liberal who voiced a strong contempt for authority\" (Monaco, 198).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">As heard in an interview with Altman and others, (included in the Collectors Edition of M*A*S*H in 2005), Altman made the movie a deliberate protest against the \"war in Vietnam and war in general\". (Fiero, 495) Altman and the people that helped him film the movie, lived in fear that Twentieth Century Fox would find out what they were really doing and shut them down. Twentieth Century believed that it was a war movie that had some laughs in it. Altman hid all references to Korea in the film. In one scene, that visits a supposed village in Korea, Altman has extras wearing the conical hats that are worn in Vietnam and not in Korea.  (M*A*S*H: Collectors Edition, 2) Altman produced M*A*S*H as an anti-war film.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The art of film-making is constantly evolving. 1970 was no different in this respect. Altman’s contribution to the world of movies is called \"overlaid\" sound. At the opening of the movie are two lines of overlapping dialogue spoken at the same time. During the movie, background noises and conversations overlap, birds singing and jets flying over are audible. The camp loud-speaker may be heard to announce that a movie will be shown that evening or blare Japanese takeoffs on American swing music while the main character is speaking. The colonel and Radar often speak the same lines at nearly the same time.  Radar always speaks just ahead of the colonel This underscores the confusion about who is really in charge. Altman’s innovation produced a more true to life experience and helped emphasize the points he wanted to make. Hearing ten different conversations in the surgery, while young soldiers hang between life and death on tables and surgeions hands work to save them, adds to the chaos and confusion. Hearing a jet fly over, during an otherwise silly conversation, reminds the viewer of where the speakers are and the seriousness of why they are there. Those jets are carrying bombs. People are going to die.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was filmed near Santa Monica, California. Altman hired a cast of improvisational actors he found performing at a nearby theatre to play the extras in his movie. They were encouraged to make conversation as their characters might if it were in a real situation. Altman allowed the actors to improvise on the spot. Ring Larder, Jr. was heard more that once, yelling at Altman because, Altman wasn’t following Lardner’s script. Altman \"used long lenses, slow zooms and tiny microphones to ambush his performers  -  to catch them accidentally being natural\" (Gilby 123).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was an instant success when it hit movie theaters in 1970. \"That M*A*S*H was\" Altman’s \"breakthrough movie had as much to do with synchronicity as quality.\" (Gilby, 122) The time was ripe for a movie that Fiero wrote was a \"biting satire on war in general\" and classified it with others in a genre she called \"Social Conscience\" films. (Fiero, 495) M*A*S*H was a nominee at the Oscars for best picture and best film editing in 1971. Ring Lardner, Jr. won an Oscar for best screen writing. \"A popular television series, part comedy and part drama, also named M*A*S*H, spun off from the film\" (Roman) and ran from 1972 until 1984; twelve years.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">I saw the movie, in a theater, in 1970. I was a high school student in my Junior year. I had read Time magazine and seen the news. I knew about the protests against the war. Everywhere were signs that the Information Age was having a profound effect on our society and way of life. When I came out of that movie I was beyond words. The amount of blood, the broken bodies of young men, the sexual freedom and independence of the nurses, the complete disregard for army authority and the constant chaos of helicopters, loud-speakers and over-lapping conversations shocked me. I was forever changed by the depictions of a surgical arena filled with surgeons and their patients, the shortages of medical supplies, and the honest caring of the doctors for those who came to be on their tables. James Roman wrote it for me in his article entitled M*A*S*H. \"War is never pretty and its visual imagery is fraught with controversy and concern. Altman (bathed) his satire within the context of humor, which makes an even more profound statement on the destructiveness of these ritualistic moral constructs. It (M*A*S*H) is a timeless portrait of disdain for the ineptness of leadership and the costs endured.\" I could not have said that, at the time but, I did know it on some level when I came out of that theater back in 1970. In vivid, bloody color, Altman’s humor had taught me what my life experience hadn’t gotten to yet.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In 1931 Charles Chaplin (1889-1977) took a tour around the world. He visited many countries including Germany. He became very concerned with what he saw. He said he wrote \"The Great Dictator\" (1940) because, he couldn’t write anything else at the time.  He said, \"And now another war was brewing and I was trying to write a story for Paulette (Paulette Goddard, a popular young actress of the time and also an ex-wife of Chaplin’s) but, I could make no progress. How could I throw myself into feminine whimsy or think of romance...when madness was being stirred up by a hideous, grotesque, Adolph Hitler\" He later wrote that \"Had I known of the actual horrors of the German concentration camps, I could not have made \"The Great Dictator\"; I could not have made fun of the homicidal insanity of the Nazis.\" (Vance, 236)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The United States’ attitude, during the 1930’s was one of conciliation and appeasement. Hollywood was afraid of insulting the Germans, because they didn’t want to lose the German market. Maybe, Chaplin made the movie as a reaction to a piece of German propaganda that reached him. The propaganda called him a Jew and a bore. Chaplin proceeded to write, direct and star in \"The Great Dictator\"  despite Hollywood’s reticence.\"The Great Dictator\" is a tale of two worlds: the palace, where the dictator rules, and the ghetto, where the Jewish barber lives.\" \"The comedic device in the film is the resemblance between the dictator and the barber.\"  People had noticed Chaplin’s likeness to Hitler for a long time. It was rumored that Hitler adopted Chaplin’s mustache because of Chaplin’s well loved character in \"The Tramp\". Giant X’s replace the swastikas and Chaplin’s character’s name was Adenoid Hynkel, dictator of Tomania. \"The theme of the story, at its basic level was the struggle between good and evil\" (Vance, 240)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Both M*A*S*H and \"The Great Dictator\" are meant to be pointed jabs at wars and the human machinery that cause wars. \"The Great Dictator\" was made before the United States got involved with WWII. M*A*S*H was made while the U.S. was embroiled in conflicts in Vietnam. While Chaplin directly satirized Hitler and his cohorts. Altman chose quips and keystone cop-like antics to make fun of the \"brass\". Charlie Chaplin’s story is about good and evil and portrays Hynkel as idiotic and evil. Altman’s movie chooses a broader brush and paints with a lot of gray the various personalities that are found on any army base. While Chaplin gives Hitler a direct hit, Altman skirts around issues and gives glimpses of his opinions by using only the visual shots of the surgery itself to bring his points home. One of the memorable lines from \"The Great Dictator\" is, \"life would be wonderful if people would leave you alone\". In M*A*S*H, \"Hot Lips\" Houlihan asks how such a disrespectful and unmilitary man could be promoted to Head Surgeon. A corpsman on the side is heard to say, \"He was drafted.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Chaplin made his opinions known by choosing actors who closely resembled Hitler’s top aides and then naming them Herring and Garbitsch. (Vance, 240) Chaplin took whatever information he had about Hitler and then exagerated it so that it was a close approximation to the reality, but twisted it and misnamed it, to expose it to ridicule. Altman chose scenes of blood and gore, men moaning and crying out, overlaid by a the loud-speaker announcing that \"marijuana is a dangerous drug.\" Chaplin’s humor was up front and in your face. It was typical of the era. People didn’t quite know yet how to watch a movie and they were treated that way. Altman’s films require thinking and noticing the details. So much of what Altman did is packed and overlaid so densely with lines and symbols, that it requires more than one viewing to understand the full significance of what is happening in any one scene. Chaplin’s film seems simple in comparison. Both of the movies use slapstick comedy.</p>\r\n<p style=\"text-align: left\">A copy of M*A*S*H, and in particular \"M*A*S*H: Collectors Edition\", should be included in the 2100 Time Capsule. It’s method of production and humor are timeless. The message is one that should be repeated over and over. People who have been through a war believe in their side of the story, but they seem to forget very quickly what this type of engagement costs everyone. When the message is presented in visual form, with the humor aimed at those who keep the machinery of war well oiled, the moral of the story cannot be forgotten. Our children, and all the generations to come, need a reminder of where we come from and why. They need to always be mindful that as Fiero writes, \"There are no victors in war, only victims.\" Human beings, who leave this Earth in the 2100 Space Capsule, need to question authority, debate everything, come to a consensus of opinion and always, always, keep a sense of humor about it all.  They must never forget the results of war. M*A*S*H can be a lesson and reminder to future generations. It must be included in the 2100 Time Capsule.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">Works Cited</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Batchelor, Bob. \"Introduction to the 1970’s (Overview).\" <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. <em>The Humanistic Tration: The Early Modern World to the Present</em>. 6th Ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Gilbey, Ryan <em>It Don’t Worry Me: The Revolutioary American Films of the Seventies </em>New York: Faber and Faber, Inc. 3002. Print. \"Plot summary for MASH\" <em>IMDb</em> Amazon.com, n.d. Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H:Collectors Edition.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Dir. Robert Altman. Perf. Donald Sutherland, Elliott Gould, Tom Skerritt and Sally Kellerman. 1969 Twentieth Century Fox, 2005 DVD. Two Disc Set.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Monaco, Paul. <em>History of American Movies: A Film-By-Film Look At The Art, Craft, and Business Of Cinema</em>. Scarecrow Press, 2010. eBook Collection <em>(EBSCOhost). </em>Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Roman, James. \"M*A*S*H(Film, 1970) <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Vance, Jeffrey. <em>Chaplin: genius of the cinema </em>New York: Harry N. Abrams. 2003. Print.</p>\r\n&nbsp;\r\n\r\n</div>','M*A*S*H: The Movie','','inherit','open','open','','2113-revision-5','','','2011-11-21 19:02:47','2011-11-22 01:02:47','',2113,'http://jeanatacc.com/2011/?p=2127',0,'revision','',0),(2135,41,'2011-11-21 21:58:50','2011-11-22 03:58:50','<strong>Sometimes photographs tell the wrong story...</strong>\r\n\r\n[caption id=\"attachment_2137\" align=\"alignright\" width=\"230\" caption=\"Dorthea Lange&#39;s &quot;Migrant Mother.&quot; Source: http://www.loc.gov/rr/print/list/128_migm.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1.jpg\"><img class=\"size-medium wp-image-2137\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1-230x300.jpg\" alt=\"\" width=\"230\" height=\"300\" /></a>[/caption]\r\n\r\n<strong>\r\n</strong>\r\n\r\nDorothea Lange (1895 – 1965) was an influential American documentary photojournalist and photographer that was well-known for her work for the Farm Security Administration, during and after the Great Depression. Lange snapped her most renowned photograph, “Migrant Mother,” in March of 1936, while she was in Nipomo, California, a rural town 175 miles from Los Angeles. This iconic photograph requires preservation because it is an example of how a single photograph brings about lasting social and political change, regardless of whether the story behind the image is true.\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\nThe famed photograph was part of five shots taken on that cold and damp day along the edges of a pea field in California [Street]. Lange was a famous portrait photographer and had owned a successful photography business. She was fortunate to live rather comfortably doing what she loved. Well, rather comfortably until the collapse of the New York Stock Exchange in 1929 when it became impossible for most people to afford to have professional portraits taken [Street].\r\n\r\nThe Great Depression affected her financially and emotionally, on a deep level. She took her camera from her comfortable studio to the street, or to the fields, in this case. Her task was to preserve the social and historical ramifications of the Great Depression [Becker-Ohrn].  She set out to photograph that segment of the population hit the hardest by the economic crisis. She trekked deep in to the farmlands of California, carrying her camera, numerous canisters of black and white film and a talent for blending in with the environment. Her mission was to capture the human condition at its most natural, vulnerable, raw and unaware[Becker-Ohrn]. “Migrant Mother” is a perfect example Lange’s ability to capture emotion and desperation in a black and white image. She chose her subjects for their realistic quality and for their ability to tell a story without words [Golden]. These were often worn-out, disappointed, bewildered and beleaguered faces. She specialized in displaying their sullen and desolate lives [Golden]. Her photos showed the plight of our country’s largest segment of people and she was just doing her job [Meltzer]. Or, was she? Could the motive have been about something different?\r\n\r\nIn 1936, U.S. President, Franklin D. Roosevelt had won re-election by a landslide, even though the Great Depression was in its eighth year. Roosevelt had instituted several programs that were favored by the American people, including the Social Security Act and unemployment benefits [Becker-Ohrn]. His goal was to consolidate the economy and focus on agriculture and industry. One of the outcomes of this giant push toward relief for the U.S. citizenry was a state-controlled relief program called The Historical Section of the Resettlement Administration. The name changed to the \"Farm Security Administration\" (FSA) in 1937 [Becker-Ohrn]. Roosevelt appointed Ron Stryker to head the organization and gave him the task of documenting the disastrous living conditions in agricultural areas among rural America. Many famous photographers worked for Stryker, including Lange (who joined his group in 1935). In total, the FSA produced about 170,000 negatives and 70,000 original prints to document the era. Today, much of what we know about the Great Depression is based on the FSA photographs [Becker-Ohrn].\r\n\r\nAfter working for Stryker for a year or two, Lange began to realize that strong political ambitions were surrounding the FSA and that these ambitions had to do with the \"New Deal,\" proposed by President Roosevelt [Shindo]. Lange began to see that the FSA was exploiting the privacy of the poor and unfortunate in an effort to propagandize the New Deal. The details here are a bit foggy, perhaps purposefully so, but Lange and her husband saw this situation as an opportunity to further their own interests [Street].\r\n\r\nLange married Paul Schuster Taylor, Professor of Economics at the University of California, Berkeley, in 1935. Taylor was a left-wing labor economist and the blatant propaganda created by his wife\'s photos placed him in good favor with certain political camps [Meltzer]. Some say that his connection to the Roosevelt administration was unusually close and that he benefited immensely (in a financial and professional sense) from the photos. After they married, Taylor groomed Lange politically and educated her in the areas of social and political protocol. As a team, they spent five years documenting extreme poverty and the blatant exploitation of migrant workers and sharecroppers. Primarily, Lange took the photographs as documentation of their claims and Taylor assembled economic, demographic and migratory data that was used for reporting to the Roosevelt Administration [Meltzer].\r\n\r\nRoosevelt implemented a propaganda machine that cranked out all sorts of information. The news media was in its infancy in the mid-1930s. There were no 24-hour news broadcasts and what information was relayed to the country was relayed on purpose. In fact, Lange\'s FSA photographs were not the only means of getting the word out about the amazing benefits of the New Deal. Lange\'s black and white \"Migrant Mother\" has the same look and feel of the painting (commissioned by Stryker) that was turned in to a Resettlement Administration poster by Bernarda Bryson Shahn.\r\n\r\n[caption id=\"attachment_2139\" align=\"alignleft\" width=\"196\" caption=\"Shahn&#39;s &quot;A Mule and a Plow&quot; Source: : http://www.michenermuseum.org/exhibits/bryson.php\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn.jpg\"><img class=\"size-medium wp-image-2139\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a>[/caption]\r\n\r\nShahn painted a disheveled and exhausted, ethnic (non-white) man dressed in threadbare and dusty clothing, leaning on a dilapidated fence in front of a ramshackle farmhouse, just next to his noticeably weak mule. The only text on this painting is, \"A Mule and a Plow. Resettlement Administration. Small Loans Give Farmers a New Start.\" This painting was commissioned by Stryker to tell a political story. Stryker could request that the content be about anything so he chose to create a mood with which middle-class America could identify. The text chosen was no coincidence and the words \"New Start\" were used for a specific reason [Fox]. Both Lange and Shahn\'s work depict the down-trodden, dissatisfied and deflated people that the New Deal was supposed to be helping. Both works showed just how bad it could be for middle-class America. The similarities are almost endless, including the clothing, colors, forlorn facial expressions, farm setting, and general feel of desperation. Basically, all one would need to do would be to place the same text on Lange\'s photograph and the exact same message would come across.\r\n\r\nLange\'s image is a black and white photograph of a real, live mother \"of seven children\" and she is desperate to provide a better life for her children [Golden]. Shahn\'s painting is nearly all black and white (even though a plethora of color paints were available at the time) and shows a man who is obviously disappointed that he cannot provide better for his family. Both images show how deeply the economic crisis is and how hopeless it seems to both men and women. More importantly, both images were purposefully used to illustrate how bad the living conditions were and this opened the door to the discussion of the benefits of the New Deal. Much of the artwork during that time was depressing and showed the immense suffering of our people. These two examples just happened to be among the many that were used to further political agendas.\r\n\r\nOut of the five photographs taken that day in Nipomo, \"Migrant Mother\" became the most well-known. The reason could be the composition of the photo, the way the light falls on the mother\'s face, the fact that three bashful or ashamed children are shown in the frame, the amount of tent showing along the edges of the frame, or any number of things. The predominant fact is that this was one of the first photographs that was used for political propaganda and it set the definition of the word \"documentary\" to this type of image. This was not a pretty image. It was not a lush landscape with waterfalls, weeping willow trees and a family of rabbits in a picturesque meadow. This was unrefined and organic. The raw image exposed the dark underbelly of our land and its people during the Great Depression. The United States was the Golden Child of the World and in the wake of the Great Depression, the true depiction of our country was coming out for all to see. Lange\'s photograph was innovative because it did not sugarcoat anything about what our people were going through during those hopeless financial times. Regardless if whether it was used to further a political agenda or not, it was a real-life image of a real family and it created an impact that we still talk about today.\r\n\r\nWhen Lange contacted an editor at a San Francisco newspaper, after developing the string of five images she took that day, the editor informed some federal authorities and subsequently published an article featuring two of Lange\'s photos. As a direct result of the article and the call to the authorities, a load of food (20,000 pounds) was delivered to the camp where Lange shot the photographs. The impact of this photo would become even greater when author, John Steinbeck used the details of the article and photo to create the fictional story behind his famed novel, \"The Grapes of Wrath\" [Shindo].\r\n\r\nToday, Lange\'s image of the woman, named Florence Owen Thompson (1903-1983), known as the Migrant Mother, has been reprinted more than a million times. The image of this mother of seven has appeared on U.S. stamps, t-shirts, Mother\'s Day cards, books, posters, and many other venues. The face of Ms. Thompson has become known as the face of the New Deal. She represented the group of New Deal loyalists that wanted to focus the light on the depraved capitalist system against which President Roosevelt was so adamantly fighting. They were successful and this image is well-known because it created a certain emotional feel that reminds us all of how bad our lives <em>could be</em>. The New Deal was a social program that was sold to the America based on propaganda and emotion. It created some amazing programs that are still in existence today and benefits for Americans. I agree with the premise and tenets of the New Deal. However, I do not believe that the emotional feel created by this photo was reality. But then again, photos are very rarely true reality.\r\n\r\nPersonally, I find that the image is a striking reminder that what we see is not always what we get, or what is true reality. The true facts behind the photo were hidden and covered up for decades. For instance, after many years passed and many interviews were conducted, the discovery was made that Ms. Thompson was not a sharecropper. Nor was she a migrant farm worker. Neither was her husband. She was not a single mother with seven children and she had not sold her tent and car for food. She had not been living off birds that her children had killed and she has not even a pea picker[Shindo].\r\n\r\nUpon further investigation, it was determined that Ms. Thompson was simply sitting along the side of the road with three children, waiting for her husband and sons to return from town. Soon after Lange left the scene where the infamous photo was taken, Thompson\'s husband returned with a fixed radiator, installed it, started the car and drove to the next town to start\r\n\r\nworking. Most significant of all, Ms. Thompson and her family never received a single bite of the food that was delivered to the camp in the week following the published article. In fact, Ms. Thompson had been living in California for ten years, in her own house, and her husband had been working in mills for years [Shindo].\r\n\r\nToday, we live in the age of technology. We have video tape, editing software, and lightening fast delivery of the \"facts.\" The biggest lesson to take away from these amazing photographs is that it is always best to be skeptical of everything you hear and see. Take the time to investigate, to question and to determine your own impressions and feelings about life events. That advice is especially true regarding all things political. Just because the New Deal sought to better the lives of the middle-class, it was not okay to use falsities to create a platform for their agenda. Preserve this image forever to remind us all that life is fragile and we must research the facts and make our own decisions about what to believe.\r\n\r\n&nbsp;\r\n\r\n<strong>Works Cited:</strong>\r\n\r\n<strong>Becker-Ohrn</strong>, Karin.  <em>Dorthea Lange: The Documentary Tradition</em>.  Baton Rouge: Lousians State University Press, 1980. This is a college-level textbook that I used to research President Roosevelt, The New Deal, and the political propagandists that were prevalent in 1936. I also researched Farm Settlement Administration fieldwork and the number of images and negatives taken by Stryker\'s photographers.\r\n\r\n<strong>Fiero</strong>, Gloria. <em>The Humanist Tradition</em>, Volume Two, Chapter 34, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed November 11-13,2011. This is a college-level course textbook that I used to learn about how Dorthea Lange\'s work left a documentary record of rural poverty and oppression during the Great Depression.\r\n\r\n<strong>Fox</strong>, Margalit. <em>Bernarda Bryson Shahn, Painter, Dies at 101</em>.  Published December 16, 2004.  Accessed: November 10, 2011. I used this page to research painter Shahn. &lt;http://www.nytimes.com/2004/12/16/arts/16shahn.html&gt;.\r\n\r\n<strong>Golden</strong>, Reuel.  <em>Photo-journalism: 1855 to the present</em>.  New York: Abbeville Press, 2005. This is a compilation of biographies of prominent documentary photographers that I used to research Lange\'s style of photography and the subject matter she was known for capturing.\r\n\r\n<strong>Meltzer</strong>, Milton.  <em>Dorthea Lange: A Photographer\'s Life</em>.  Syracuse: Syracuse University Press, 2000. This is a Biography that I used to research Lange\'s marriage to Paul Taylor and how he instigated change in Lange\'s work. I also researched Lange\'s photographic style in general.\r\n\r\n<strong>Shindo</strong>, Charles.  <em>Dust Bowl Migrants in the American Imagination</em>.  Lawrence: University Press of Kansas, 1997. This is a college-level textbook that I used to research the \"Migrant Mother\" image and how its popularity lead to furthering the agendas of Lange and author John Steinbeck.\r\n\r\n<strong>Street</strong>, Richard Steven. <em>Photographing Farmworkers in California</em>.  Stanford: Stanford University Press, 2004. This is a photographic documentary of Migrant farm workers in California as seen through the eyes of numerous photographers. I used this book to research the work on Lange as it relates to whether the story behind the \"Migrant Mother\" image was true.\r\n<p style=\"text-align: left;\" align=\"center\">Thank you for reading my essay!</p>\r\n<p style=\"text-align: left;\" align=\"center\"><strong>Happy Thanksgiving!</strong></p>','Real Life or Propaganda?','','publish','open','open','','real-life-or-propaganda','','','2011-11-22 11:13:26','2011-11-22 17:13:26','',0,'http://jeanatacc.com/2011/?p=2135',0,'post','',4),(2129,39,'2011-11-21 19:39:49','2011-11-22 01:39:49','&nbsp;\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1.jpg\"><img class=\"size-medium wp-image-2130 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a>\r\n<p style=\"text-align: center;\">http://www.miomusik.com/trame_sonore_b/boyz_in_the_hood_CD_z.jpg</p>\r\n“Boyz N’ The Hood” was created by John Singleton in 1991 starring Cuba Gooding Jr., Laurence Fishburne, and Ice Cube.  He was the perfect person to introduce the world to this view of inner city living having made this because he was, \"Writing and directing a film version of his growing up in South Central Los Angeles.\"<!--more--> (Berry)  The story is one about four friends growing up in the ghetto and the challenge it is to get out of that lifestyle.  Two of them have options to make a better life for themselves, although with a grim ending only one does due to their surroundings.  One of the friends as well meets a grim ending although he idolized the life of South Central aside from his friend’s aspirations.  It shows how there are not many options for young African Americans at the time to get themselves out of this lifestyle.  I believe that “Boyz N’ The Hood” should be preserved because it captures the true picture of the bottlenecks young African Americans faced during the time and the rampant racism that still existed at the time.\r\n\r\nThere is no question that future generations should be aware of this piece.  It depicts the level of living conditions are fellow Americans were faced with.  It shows the abuse of power that occurred by police, especially ones who had deep seated amounts of racism.  There is a scene in which a racist police officer pulling the boys over places the end of his gun in one of their mouths asking if they are scared to die.  Can you imagine being worried about the people that are put in place to protect you despising you?  Not to mention the constant worry of possibly being attacked or hit with a bullet on a day to day basis.  The unbridled wrath and harsh living conditions of this environment are something those generations to come must see.\r\n\r\nThis work was innovative for its time and was running the same course as some other films showing the deep seated reason for issues America was facing.  The first piece that runs hand in hand is “South Central” which was released in 1992.  It is about a young African American man who is sentenced to 10 years living the life of a gangster.  After spending time in prison educating himself he is released and wants nothing more than to leave that life behind for good.  However once out he comes to find that his son has been recruited by his old friend and is now on the same path his father.  Once again depicting the trials young African Americans faced and the ways they dealt with them.\r\n\r\nAnother wonderful view from the other side of the race line is what is seen in “American History X”.  This shows a young white male whose father is killed in a bad neighborhood doing his job.  This incites a deep seated rage and breads a figurehead in the local skin head society.  From that point his view and anger over this incident has him doing anything from breaking into locally owned minority stores and trashing them, to what lands him in prison when he crushes a thieves head on a curb.  The most powerful scene being after he has done so he turns around with a evil smile on his face; until he sees his brothers face who is standing behind him.  In turn he goes to prison and sees his skin head brethren doing business with the Hispanic gangs and he rebels.  This is his realization of how skewed his perception is when he is attacked not by a minority gang, but by his own.  At this point his eyes open and he educates himself.  Once getting out of prison the skin head figurehead is no more and all he wants is his brother to get out of that life.  Unfortunately it might be to late regardless of the things he has told his younger brother.  Another wonderful film (if you can stomach watching parts) that shows how the situations that were lived in by some molded them into different people.  In the end only to find out that is not the answer and they need to continue with life if possible.\r\n\r\nDuring the time it was received well as it, \"Garnered Oscar nominations for Best Original Screenplay and Best Director, making Singleton the first African American and the youngest person to be nominated for the latter honor.\" due to his groundbreaking work. (Zellars)  Although it was not very typical of its era as films regarding this subject were just beginning to come out.  Tons flocked to the theatres to see this raw view into the workings of the inner cities.  So many saw this that one critic has even stated that, \" His hardcore urban-drama was a realistic portrayal of the violence and hardships of growing up black in the inner cities, and gang violence sometimes erupted in the theater.\" (Berry)  Showing just how big of an impact this had on people of different age, race, and color.  His focus in making the film was not to prove a point to white people but is described as, \"According to the director, it was extremely important to him that his film communicate to audiences, both black and white, the essential relationship between Furious Styles (Laurence Fishburne) and his son, Tre (Cuba Gooding Jr.).\" (Calhoun) And once all was said and done the people received it with, \" When the film was received with raucous applause and critical praise\". (Calhoun)\r\n\r\nI think that this piece is absolutely wonderful.  I have seen it many times either on television or in movie format.  And it sucks you in every time you watch it.  No matter how many times you have seen it the story will keep you watching from the start.  The issues that plagued South Central at the time were enormous.  From friends going out wanting to have a good time and being held up by police, to young kids with so much to offer the world being gunned down in cold blood over some made up feud.  It shows the public how hard times were and the things that young people living their had to deal with on a day to day basis.  The obscurity of how times were then compared to now is baffling, although unfortunately still remains true in some parts of the country.  It makes one wonder how long the deep seated amount of hate and depravity that spawned in these areas will continue to effect them.\r\n\r\nToday the film is still viewed in the same light.  Not only is it groundbreaking for some, but it also shows people of how things were during that time period.  Critics will describe what Singleton has done with \"Boyz N\' The Hood\" as, \" this 23-year-old wunderkind had not authored and directed a film that could be blamed for anything more than depicting, accurately and movingly, the coming to manhood of a group of young black men in South Central. Gang life, and the endemic violence and police reaction it fosters.\" (Palmer)  Even today since its release twenty years ago the film in no way has died down.  Even now other than mainstream movie networks it can be seen on local cable.  Showing that regardless of how old it is the deep seated meanings it carriers are not forgotten and won\'t be.\r\n\r\nAmong his amazingly powerful works \"Boyz N\' The Hood\" is a groundbreaking film from this wonderful director.  He encompasses the struggles that he and anyone else living there at the time would face.  His work is described as, \" Singleton\'s works are populated with archetypes drawn from the black community who represent different aspects of black thought and culture.\" (Puckett)  There is no doubt in my mind \"Boyz N\' The Hood\'\" should be preserved due to its raw and uncut look into the trials that have faced generations.  He spares no detail about the struggles that faced many American\'s at the time due to social norm bottlenecks, and deep seated racism that still can be seen today just as then.  It deserves to be viewed for years and years to come so that people can truly see how debilitated some had to live during these times.\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\n            \"Singleton, John (1968–).\" <em>Historical Dictionary of African American Cinema</em>. S. Torriano Berry and Venise T. Berry. Lanham, MD: Scarecrow Press, 2007. 303-304. Historical Dictionaries of Literature and the Arts 12. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nCalhoun, Lucas. \"Boyz N’ the Hood.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 1. Santa Barbara, CA: ABC-CLIO, 2011. 65-66. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nPalmer, R. Barton. \"Singleton, John.\" <em>International Dictionary of Films and Filmmakers</em>. Ed. Sara Pendergast and Tom Pendergast. 4th ed. Vol. 2: Directors. Detroit: St. James Press, 2000. 919-921. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.\r\n\r\nPuckett, Caleb. \"Singleton, John.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 3. Santa Barbara, CA: ABC-CLIO, 2011. 805-807. <em>Gale Virtual Reference Library</em>. Web. 21 Nov. 2011\r\n\r\nZellars, Rachel. \"Singleton, John.\" <em>Encyclopedia of African-American Culture and History</em>. Ed. Colin A. Palmer. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2006. 2041. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.','John Singleton\'s \"Boyz N\' The Hood\" ','','publish','open','open','','john-singletons-boyz-n-the-hood','','','2011-11-22 11:14:41','2011-11-22 17:14:41','',0,'http://jeanatacc.com/2011/?p=2129',0,'post','',13),(2130,39,'2011-11-21 19:39:39','2011-11-22 01:39:39','','boyz_in_the_hood_CD_z','','inherit','open','open','','boyz_in_the_hood_cd_z-2','','','2011-11-21 19:39:39','2011-11-22 01:39:39','',2129,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1.jpg',0,'attachment','image/jpeg',0),(2131,39,'2011-11-21 19:39:47','2011-11-22 01:39:47','&nbsp;\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1.jpg\"><img class=\"alignnone size-medium wp-image-2130\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a>\n\n“Boyz N’ The Hood” was created by John Singleton in 1991 starring Cuba Gooding Jr., Laurence Fishburne, and Ice Cube.  He was the perfect person to introduce the world to this view of inner city living having made this because he was, \"Writing and directing a film version of his growing up in South Central Los Angeles.\"<!--more--> (Berry)  The story is one about four friends growing up in the ghetto and the challenge it is to get out of that lifestyle.  Two of them have options to make a better life for themselves, although with a grim ending only one does due to their surroundings.  One of the friends as well meets a grim ending although he idolized the life of South Central aside from his friend’s aspirations.  It shows how there are not many options for young African Americans at the time to get themselves out of this lifestyle.  I believe that “Boyz N’ The Hood” should be preserved because it captures the true picture of the bottlenecks young African Americans faced during the time and the rampant racism that still existed at the time.\n\nThere is no question that future generations should be aware of this piece.  It depicts the level of living conditions are fellow Americans were faced with.  It shows the abuse of power that occurred by police, especially ones who had deep seated amounts of racism.  There is a scene in which a racist police officer pulling the boys over places the end of his gun in one of their mouths asking if they are scared to die.  Can you imagine being worried about the people that are put in place to protect you despising you?  Not to mention the constant worry of possibly being attacked or hit with a bullet on a day to day basis.  The unbridled wrath and harsh living conditions of this environment are something those generations to come must see.\n\nThis work was innovative for its time and was running the same course as some other films showing the deep seated reason for issues America was facing.  The first piece that runs hand in hand is “South Central” which was released in 1992.  It is about a young African American man who is sentenced to 10 years living the life of a gangster.  After spending time in prison educating himself he is released and wants nothing more than to leave that life behind for good.  However once out he comes to find that his son has been recruited by his old friend and is now on the same path his father.  Once again depicting the trials young African Americans faced and the ways they dealt with them.\n\nAnother wonderful view from the other side of the race line is what is seen in “American History X”.  This shows a young white male whose father is killed in a bad neighborhood doing his job.  This incites a deep seated rage and breads a figurehead in the local skin head society.  From that point his view and anger over this incident has him doing anything from breaking into locally owned minority stores and trashing them, to what lands him in prison when he crushes a thieves head on a curb.  The most powerful scene being after he has done so he turns around with a evil smile on his face; until he sees his brothers face who is standing behind him.  In turn he goes to prison and sees his skin head brethren doing business with the Hispanic gangs and he rebels.  This is his realization of how skewed his perception is when he is attacked not by a minority gang, but by his own.  At this point his eyes open and he educates himself.  Once getting out of prison the skin head figurehead is no more and all he wants is his brother to get out of that life.  Unfortunately it might be to late regardless of the things he has told his younger brother.  Another wonderful film (if you can stomach watching parts) that shows how the situations that were lived in by some molded them into different people.  In the end only to find out that is not the answer and they need to continue with life if possible.\n\nDuring the time it was received well as it, \"Garnered Oscar nominations for Best Original Screenplay and Best Director, making Singleton the first African American and the youngest person to be nominated for the latter honor.\" due to his groundbreaking work. (Zellars)  Although it was not very typical of its era as films regarding this subject were just beginning to come out.  Tons flocked to the theatres to see this raw view into the workings of the inner cities.  So many saw this that one critic has even stated that, \" His hardcore urban-drama was a realistic portrayal of the violence and hardships of growing up black in the inner cities, and gang violence sometimes erupted in the theater.\" (Berry)  Showing just how big of an impact this had on people of different age, race, and color.  His focus in making the film was not to prove a point to white people but is described as, \"According to the director, it was extremely important to him that his film communicate to audiences, both black and white, the essential relationship between Furious Styles (Laurence Fishburne) and his son, Tre (Cuba Gooding Jr.).\" (Calhoun) And once all was said and done the people received it with, \" When the film was received with raucous applause and critical praise\". (Calhoun)\n\nI think that this piece is absolutely wonderful.  I have seen it many times either on television or in movie format.  And it sucks you in every time you watch it.  No matter how many times you have seen it the story will keep you watching from the start.  The issues that plagued South Central at the time were enormous.  From friends going out wanting to have a good time and being held up by police, to young kids with so much to offer the world being gunned down in cold blood over some made up feud.  It shows the public how hard times were and the things that young people living their had to deal with on a day to day basis.  The obscurity of how times were then compared to now is baffling, although unfortunately still remains true in some parts of the country.  It makes one wonder how long the deep seated amount of hate and depravity that spawned in these areas will continue to effect them.\n\nToday the film is still viewed in the same light.  Not only is it groundbreaking for some, but it also shows people of how things were during that time period.  Critics will describe what Singleton has done with \"Boyz N\' The Hood\" as, \" this 23-year-old wunderkind had not authored and directed a film that could be blamed for anything more than depicting, accurately and movingly, the coming to manhood of a group of young black men in South Central. Gang life, and the endemic violence and police reaction it fosters.\" (Palmer)  Even today since its release twenty years ago the film in no way has died down.  Even now other than mainstream movie networks it can be seen on local cable.  Showing that regardless of how old it is the deep seated meanings it carriers are not forgotten and won\'t be.\n\nAmong his amazingly powerful works \"Boyz N\' The Hood\" is a groundbreaking film from this wonderful director.  He encompasses the struggles that he and anyone else living there at the time would face.  His work is described as, \" Singleton\'s works are populated with archetypes drawn from the black community who represent different aspects of black thought and culture.\" (Puckett)  There is no doubt in my mind \"Boyz N\' The Hood\'\" should be preserved due to its raw and uncut look into the trials that have faced generations.  He spares no detail about the struggles that faced many American\'s at the time due to social norm bottlenecks, and deep seated racism that still can be seen today just as then.  It deserves to be viewed for years and years to come so that people can truly see how debilitated some had to live during these times.\n\n&nbsp;\n<p align=\"center\">Work Cited</p>\n<p align=\"center\"></p>\n            \"Singleton, John (1968–).\" <em>Historical Dictionary of African American Cinema</em>. S. Torriano Berry and Venise T. Berry. Lanham, MD: Scarecrow Press, 2007. 303-304. Historical Dictionaries of Literature and the Arts 12. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\n\nCalhoun, Lucas. \"Boyz N’ the Hood.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 1. Santa Barbara, CA: ABC-CLIO, 2011. 65-66. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\n\nPalmer, R. Barton. \"Singleton, John.\" <em>International Dictionary of Films and Filmmakers</em>. Ed. Sara Pendergast and Tom Pendergast. 4th ed. Vol. 2: Directors. Detroit: St. James Press, 2000. 919-921. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.\n\nPuckett, Caleb. \"Singleton, John.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 3. Santa Barbara, CA: ABC-CLIO, 2011. 805-807. <em>Gale Virtual Reference Library</em>. Web. 21 Nov. 2011\n\nZellars, Rachel. \"Singleton, John.\" <em>Encyclopedia of African-American Culture and History</em>. Ed. Colin A. Palmer. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2006. 2041. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.','John Singleton\'s \"Boyz N\' The Hood\" ','','inherit','open','open','','2129-revision','','','2011-11-21 19:39:47','2011-11-22 01:39:47','',2129,'http://jeanatacc.com/2011/?p=2131',0,'revision','',0),(2132,39,'2011-11-21 19:39:49','2011-11-22 01:39:49','&nbsp;\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1.jpg\"><img class=\"alignnone size-medium wp-image-2130\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a>\r\n\r\n“Boyz N’ The Hood” was created by John Singleton in 1991 starring Cuba Gooding Jr., Laurence Fishburne, and Ice Cube.  He was the perfect person to introduce the world to this view of inner city living having made this because he was, \"Writing and directing a film version of his growing up in South Central Los Angeles.\"<!--more--> (Berry)  The story is one about four friends growing up in the ghetto and the challenge it is to get out of that lifestyle.  Two of them have options to make a better life for themselves, although with a grim ending only one does due to their surroundings.  One of the friends as well meets a grim ending although he idolized the life of South Central aside from his friend’s aspirations.  It shows how there are not many options for young African Americans at the time to get themselves out of this lifestyle.  I believe that “Boyz N’ The Hood” should be preserved because it captures the true picture of the bottlenecks young African Americans faced during the time and the rampant racism that still existed at the time.\r\n\r\nThere is no question that future generations should be aware of this piece.  It depicts the level of living conditions are fellow Americans were faced with.  It shows the abuse of power that occurred by police, especially ones who had deep seated amounts of racism.  There is a scene in which a racist police officer pulling the boys over places the end of his gun in one of their mouths asking if they are scared to die.  Can you imagine being worried about the people that are put in place to protect you despising you?  Not to mention the constant worry of possibly being attacked or hit with a bullet on a day to day basis.  The unbridled wrath and harsh living conditions of this environment are something those generations to come must see.\r\n\r\nThis work was innovative for its time and was running the same course as some other films showing the deep seated reason for issues America was facing.  The first piece that runs hand in hand is “South Central” which was released in 1992.  It is about a young African American man who is sentenced to 10 years living the life of a gangster.  After spending time in prison educating himself he is released and wants nothing more than to leave that life behind for good.  However once out he comes to find that his son has been recruited by his old friend and is now on the same path his father.  Once again depicting the trials young African Americans faced and the ways they dealt with them.\r\n\r\nAnother wonderful view from the other side of the race line is what is seen in “American History X”.  This shows a young white male whose father is killed in a bad neighborhood doing his job.  This incites a deep seated rage and breads a figurehead in the local skin head society.  From that point his view and anger over this incident has him doing anything from breaking into locally owned minority stores and trashing them, to what lands him in prison when he crushes a thieves head on a curb.  The most powerful scene being after he has done so he turns around with a evil smile on his face; until he sees his brothers face who is standing behind him.  In turn he goes to prison and sees his skin head brethren doing business with the Hispanic gangs and he rebels.  This is his realization of how skewed his perception is when he is attacked not by a minority gang, but by his own.  At this point his eyes open and he educates himself.  Once getting out of prison the skin head figurehead is no more and all he wants is his brother to get out of that life.  Unfortunately it might be to late regardless of the things he has told his younger brother.  Another wonderful film (if you can stomach watching parts) that shows how the situations that were lived in by some molded them into different people.  In the end only to find out that is not the answer and they need to continue with life if possible.\r\n\r\nDuring the time it was received well as it, \"Garnered Oscar nominations for Best Original Screenplay and Best Director, making Singleton the first African American and the youngest person to be nominated for the latter honor.\" due to his groundbreaking work. (Zellars)  Although it was not very typical of its era as films regarding this subject were just beginning to come out.  Tons flocked to the theatres to see this raw view into the workings of the inner cities.  So many saw this that one critic has even stated that, \" His hardcore urban-drama was a realistic portrayal of the violence and hardships of growing up black in the inner cities, and gang violence sometimes erupted in the theater.\" (Berry)  Showing just how big of an impact this had on people of different age, race, and color.  His focus in making the film was not to prove a point to white people but is described as, \"According to the director, it was extremely important to him that his film communicate to audiences, both black and white, the essential relationship between Furious Styles (Laurence Fishburne) and his son, Tre (Cuba Gooding Jr.).\" (Calhoun) And once all was said and done the people received it with, \" When the film was received with raucous applause and critical praise\". (Calhoun)\r\n\r\nI think that this piece is absolutely wonderful.  I have seen it many times either on television or in movie format.  And it sucks you in every time you watch it.  No matter how many times you have seen it the story will keep you watching from the start.  The issues that plagued South Central at the time were enormous.  From friends going out wanting to have a good time and being held up by police, to young kids with so much to offer the world being gunned down in cold blood over some made up feud.  It shows the public how hard times were and the things that young people living their had to deal with on a day to day basis.  The obscurity of how times were then compared to now is baffling, although unfortunately still remains true in some parts of the country.  It makes one wonder how long the deep seated amount of hate and depravity that spawned in these areas will continue to effect them.\r\n\r\nToday the film is still viewed in the same light.  Not only is it groundbreaking for some, but it also shows people of how things were during that time period.  Critics will describe what Singleton has done with \"Boyz N\' The Hood\" as, \" this 23-year-old wunderkind had not authored and directed a film that could be blamed for anything more than depicting, accurately and movingly, the coming to manhood of a group of young black men in South Central. Gang life, and the endemic violence and police reaction it fosters.\" (Palmer)  Even today since its release twenty years ago the film in no way has died down.  Even now other than mainstream movie networks it can be seen on local cable.  Showing that regardless of how old it is the deep seated meanings it carriers are not forgotten and won\'t be.\r\n\r\nAmong his amazingly powerful works \"Boyz N\' The Hood\" is a groundbreaking film from this wonderful director.  He encompasses the struggles that he and anyone else living there at the time would face.  His work is described as, \" Singleton\'s works are populated with archetypes drawn from the black community who represent different aspects of black thought and culture.\" (Puckett)  There is no doubt in my mind \"Boyz N\' The Hood\'\" should be preserved due to its raw and uncut look into the trials that have faced generations.  He spares no detail about the struggles that faced many American\'s at the time due to social norm bottlenecks, and deep seated racism that still can be seen today just as then.  It deserves to be viewed for years and years to come so that people can truly see how debilitated some had to live during these times.\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\n<p align=\"center\"></p>\r\n            \"Singleton, John (1968–).\" <em>Historical Dictionary of African American Cinema</em>. S. Torriano Berry and Venise T. Berry. Lanham, MD: Scarecrow Press, 2007. 303-304. Historical Dictionaries of Literature and the Arts 12. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nCalhoun, Lucas. \"Boyz N’ the Hood.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 1. Santa Barbara, CA: ABC-CLIO, 2011. 65-66. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nPalmer, R. Barton. \"Singleton, John.\" <em>International Dictionary of Films and Filmmakers</em>. Ed. Sara Pendergast and Tom Pendergast. 4th ed. Vol. 2: Directors. Detroit: St. James Press, 2000. 919-921. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.\r\n\r\nPuckett, Caleb. \"Singleton, John.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 3. Santa Barbara, CA: ABC-CLIO, 2011. 805-807. <em>Gale Virtual Reference Library</em>. Web. 21 Nov. 2011\r\n\r\nZellars, Rachel. \"Singleton, John.\" <em>Encyclopedia of African-American Culture and History</em>. Ed. Colin A. Palmer. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2006. 2041. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.','John Singleton\'s \"Boyz N\' The Hood\" ','','inherit','open','open','','2129-revision-2','','','2011-11-21 19:39:49','2011-11-22 01:39:49','',2129,'http://jeanatacc.com/2011/?p=2132',0,'revision','',0),(2133,39,'2011-11-21 19:39:55','2011-11-22 01:39:55','&nbsp;\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1.jpg\"><img class=\"alignnone size-medium wp-image-2130\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a>\r\n\r\n“Boyz N’ The Hood” was created by John Singleton in 1991 starring Cuba Gooding Jr., Laurence Fishburne, and Ice Cube.  He was the perfect person to introduce the world to this view of inner city living having made this because he was, \"Writing and directing a film version of his growing up in South Central Los Angeles.\"<!--more--> (Berry)  The story is one about four friends growing up in the ghetto and the challenge it is to get out of that lifestyle.  Two of them have options to make a better life for themselves, although with a grim ending only one does due to their surroundings.  One of the friends as well meets a grim ending although he idolized the life of South Central aside from his friend’s aspirations.  It shows how there are not many options for young African Americans at the time to get themselves out of this lifestyle.  I believe that “Boyz N’ The Hood” should be preserved because it captures the true picture of the bottlenecks young African Americans faced during the time and the rampant racism that still existed at the time.\r\n\r\nThere is no question that future generations should be aware of this piece.  It depicts the level of living conditions are fellow Americans were faced with.  It shows the abuse of power that occurred by police, especially ones who had deep seated amounts of racism.  There is a scene in which a racist police officer pulling the boys over places the end of his gun in one of their mouths asking if they are scared to die.  Can you imagine being worried about the people that are put in place to protect you despising you?  Not to mention the constant worry of possibly being attacked or hit with a bullet on a day to day basis.  The unbridled wrath and harsh living conditions of this environment are something those generations to come must see.\r\n\r\nThis work was innovative for its time and was running the same course as some other films showing the deep seated reason for issues America was facing.  The first piece that runs hand in hand is “South Central” which was released in 1992.  It is about a young African American man who is sentenced to 10 years living the life of a gangster.  After spending time in prison educating himself he is released and wants nothing more than to leave that life behind for good.  However once out he comes to find that his son has been recruited by his old friend and is now on the same path his father.  Once again depicting the trials young African Americans faced and the ways they dealt with them.\r\n\r\nAnother wonderful view from the other side of the race line is what is seen in “American History X”.  This shows a young white male whose father is killed in a bad neighborhood doing his job.  This incites a deep seated rage and breads a figurehead in the local skin head society.  From that point his view and anger over this incident has him doing anything from breaking into locally owned minority stores and trashing them, to what lands him in prison when he crushes a thieves head on a curb.  The most powerful scene being after he has done so he turns around with a evil smile on his face; until he sees his brothers face who is standing behind him.  In turn he goes to prison and sees his skin head brethren doing business with the Hispanic gangs and he rebels.  This is his realization of how skewed his perception is when he is attacked not by a minority gang, but by his own.  At this point his eyes open and he educates himself.  Once getting out of prison the skin head figurehead is no more and all he wants is his brother to get out of that life.  Unfortunately it might be to late regardless of the things he has told his younger brother.  Another wonderful film (if you can stomach watching parts) that shows how the situations that were lived in by some molded them into different people.  In the end only to find out that is not the answer and they need to continue with life if possible.\r\n\r\nDuring the time it was received well as it, \"Garnered Oscar nominations for Best Original Screenplay and Best Director, making Singleton the first African American and the youngest person to be nominated for the latter honor.\" due to his groundbreaking work. (Zellars)  Although it was not very typical of its era as films regarding this subject were just beginning to come out.  Tons flocked to the theatres to see this raw view into the workings of the inner cities.  So many saw this that one critic has even stated that, \" His hardcore urban-drama was a realistic portrayal of the violence and hardships of growing up black in the inner cities, and gang violence sometimes erupted in the theater.\" (Berry)  Showing just how big of an impact this had on people of different age, race, and color.  His focus in making the film was not to prove a point to white people but is described as, \"According to the director, it was extremely important to him that his film communicate to audiences, both black and white, the essential relationship between Furious Styles (Laurence Fishburne) and his son, Tre (Cuba Gooding Jr.).\" (Calhoun) And once all was said and done the people received it with, \" When the film was received with raucous applause and critical praise\". (Calhoun)\r\n\r\nI think that this piece is absolutely wonderful.  I have seen it many times either on television or in movie format.  And it sucks you in every time you watch it.  No matter how many times you have seen it the story will keep you watching from the start.  The issues that plagued South Central at the time were enormous.  From friends going out wanting to have a good time and being held up by police, to young kids with so much to offer the world being gunned down in cold blood over some made up feud.  It shows the public how hard times were and the things that young people living their had to deal with on a day to day basis.  The obscurity of how times were then compared to now is baffling, although unfortunately still remains true in some parts of the country.  It makes one wonder how long the deep seated amount of hate and depravity that spawned in these areas will continue to effect them.\r\n\r\nToday the film is still viewed in the same light.  Not only is it groundbreaking for some, but it also shows people of how things were during that time period.  Critics will describe what Singleton has done with \"Boyz N\' The Hood\" as, \" this 23-year-old wunderkind had not authored and directed a film that could be blamed for anything more than depicting, accurately and movingly, the coming to manhood of a group of young black men in South Central. Gang life, and the endemic violence and police reaction it fosters.\" (Palmer)  Even today since its release twenty years ago the film in no way has died down.  Even now other than mainstream movie networks it can be seen on local cable.  Showing that regardless of how old it is the deep seated meanings it carriers are not forgotten and won\'t be.\r\n\r\nAmong his amazingly powerful works \"Boyz N\' The Hood\" is a groundbreaking film from this wonderful director.  He encompasses the struggles that he and anyone else living there at the time would face.  His work is described as, \" Singleton\'s works are populated with archetypes drawn from the black community who represent different aspects of black thought and culture.\" (Puckett)  There is no doubt in my mind \"Boyz N\' The Hood\'\" should be preserved due to its raw and uncut look into the trials that have faced generations.  He spares no detail about the struggles that faced many American\'s at the time due to social norm bottlenecks, and deep seated racism that still can be seen today just as then.  It deserves to be viewed for years and years to come so that people can truly see how debilitated some had to live during these times.\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\n            \"Singleton, John (1968–).\" <em>Historical Dictionary of African American Cinema</em>. S. Torriano Berry and Venise T. Berry. Lanham, MD: Scarecrow Press, 2007. 303-304. Historical Dictionaries of Literature and the Arts 12. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nCalhoun, Lucas. \"Boyz N’ the Hood.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 1. Santa Barbara, CA: ABC-CLIO, 2011. 65-66. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nPalmer, R. Barton. \"Singleton, John.\" <em>International Dictionary of Films and Filmmakers</em>. Ed. Sara Pendergast and Tom Pendergast. 4th ed. Vol. 2: Directors. Detroit: St. James Press, 2000. 919-921. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.\r\n\r\nPuckett, Caleb. \"Singleton, John.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 3. Santa Barbara, CA: ABC-CLIO, 2011. 805-807. <em>Gale Virtual Reference Library</em>. Web. 21 Nov. 2011\r\n\r\nZellars, Rachel. \"Singleton, John.\" <em>Encyclopedia of African-American Culture and History</em>. Ed. Colin A. Palmer. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2006. 2041. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.','John Singleton\'s \"Boyz N\' The Hood\" ','','inherit','open','open','','2129-revision-3','','','2011-11-21 19:39:55','2011-11-22 01:39:55','',2129,'http://jeanatacc.com/2011/?p=2133',0,'revision','',0),(2136,41,'2011-11-21 21:49:39','2011-11-22 03:49:39','','Dorthea Lange\'s \"Migrant Mother.\" Source: http://www.loc.gov/rr/print/list/128_migm.html','Dorthea Lange\'s \"Migrant Mother.\" Source: http://www.loc.gov/rr/print/list/128_migm.htm','inherit','open','open','','migrant-mother','','','2011-11-21 21:49:39','2011-11-22 03:49:39','',2135,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother.jpg',0,'attachment','image/jpeg',0),(2137,41,'2011-11-21 21:51:31','2011-11-22 03:51:31','','Dorthea Lange\'s \"Migrant Mother.\" Source: http://www.loc.gov/rr/print/list/128_migm.htm','Dorthea Lange\'s \"Migrant Mother.\" Source: http://www.loc.gov/rr/print/list/128_migm.htm','inherit','open','open','','migrant-mother-2','','','2011-11-21 21:51:31','2011-11-22 03:51:31','',2135,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1.jpg',0,'attachment','image/jpeg',0),(2138,41,'2011-11-21 21:51:50','2011-11-22 03:51:50','<strong>Sometimes photographs tell the wrong story...</strong>\n\n[caption id=\"attachment_2137\" align=\"alignright\" width=\"230\" caption=\"Dorthea Lange&#039;s &quot;Migrant Mother.&quot; Source: http://www.loc.gov/rr/print/list/128_migm.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1.jpg\"><img class=\"size-medium wp-image-2137\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1-230x300.jpg\" alt=\"\" width=\"230\" height=\"300\" /></a>[/caption]\n\n<strong>\n</strong>\n\nDorothea Lange (1895 – 1965) was an influential American documentary photojournalist and photographer that was well-known for her work for the Farm Security Administration, during and after the Great Depression. Lange snapped her most renowned photograph, “Migrant Mother,” in March of 1936, while she was in Nipomo, California, a rural town 175 miles from Los Angeles. This iconic photograph requires preservation because it is an example of how a single photograph brings about lasting social and political change, regardless of the story behind the image is true.\n\n&nbsp;\n\n&nbsp;\n\nThe famed photograph was part of five shots taken on that cold and damp day along the edges of a pea field in California [Street]. Lange was a famous portrait photographer and had owned a successful photography business. She was fortunate to live rather comfortably doing what she loved. Well, rather comfortably until the collapse of the New York Stock Exchange in 1929 when it became impossible for most people to afford to have professional portraits taken [Street].\n\nThe Great Depression affected her financially and emotionally, on a deep level. She took her camera from her comfortable studio to the street, or to the fields, in this case. Her task was to preserve the social and historical ramifications of the Great Depression [Becker-Ohrn].  She set out to photograph that segment of the population hit the hardest by the economic crisis. She trekked deep in to the farmlands of California, carrying her camera, numerous canisters of black and white film and a talent for blending in with the environment. Her mission was to capture the human condition at its most natural, vulnerable, raw and unaware[Becker-Ohrn]. “Migrant Mother” is a perfect example Lange’s ability to capture emotion and desperation in a black and white image. She chose her subjects for their realistic quality and for their ability to tell a story without words [Golden]. These were often worn-out, disappointed, bewildered and beleaguered faces. She specialized in displaying their sullen and desolate lives [Golden]. Her photos showed the plight of our country’s largest segment of people and she was just doing her job [Meltzer]. Or, was she? Could the motive have been about something different?\n\nIn 1936, U.S. President, Franklin D. Roosevelt had won re-election by a landslide, even though the Great Depression was in its eighth year. Roosevelt had instituted several programs that were favored by the American people, including the Social Security Act and unemployment benefits [Becker-Ohrn]. His goal was to consolidate the economy and focus on agriculture and industry. One of the outcomes of this giant push toward relief for the U.S. citizenry was a state-controlled relief program called The Historical Section of the Resettlement Administration. The name changed to the \"Farm Security Administration\" (FSA) in 1937 [Becker-Ohrn]. Roosevelt appointed Ron Stryker to head the organization and gave him the task of documenting the disastrous living conditions in agricultural areas among rural America. Many famous photographers worked for Stryker, including Lange (who joined his group in 1935). In total, the FSA produced about 170,000 negatives and 70,000 original prints to document the era. Today, much of what we know about the Great Depression is based on the FSA photographs [Becker-Ohrn].\n\nAfter working for Stryker for a year or two, Lange began to realize that strong political ambitions were surrounding the FSA and that these ambitions had to do with the \"New Deal,\" proposed by President Roosevelt [Shindo]. Lange began to see that the FSA was exploiting the privacy of the poor and unfortunate in an effort to propagandize the New Deal. The details here are a bit foggy, perhaps purposefully so, but Lange and her husband saw this situation as an opportunity to further their own interests [Street].\n\nLange married Paul Schuster Taylor, Professor of Economics at the University of California, Berkeley, in 1935. Taylor was a left-wing labor economist and the blatant propaganda created by his wife\'s photos placed him in good favor with certain political camps [Meltzer]. Some say that his connection to the Roosevelt administration was unusually close and that he benefited immensely (in a financial and professional sense) from the photos. After they married, Taylor groomed Lange politically and educated her in the areas of social and political protocol. As a team, they spent five years documenting extreme poverty and the blatant exploitation of migrant workers and sharecroppers. Primarily, Lange took the photographs as documentation of their claims and Taylor assembled economic, demographic and migratory data that was used for reporting to the Roosevelt Administration [Meltzer].\n\nRoosevelt implemented a propaganda machine that cranked out all sorts of information. The news media was in its infancy in the mid-1930s. There were no 24-hour news broadcasts and what information was relayed to the country was relayed on purpose. In fact, Lange\'s FSA photographs were not the only means of getting the word out about the amazing benefits of the New Deal. Lange\'s black and white \"Migrant Mother\" has the same look and feel of the painting (commissioned by Stryker) that was turned in to a Resettlement Administration poster by Bernarda Bryson Shahn.\n\nShahn painted a disheveled and exhausted, ethnic (non-white) man dressed in threadbare and dusty clothing, leaning on a dilapidated fence in front of a ramshackle farmhouse, just next to his noticeably weak mule. The only text on this painting is, \"A Mule and a Plow. Resettlement Administration. Small Loans Give Farmers a New Start.\" This painting was commissioned by Stryker to tell a political story. Stryker could request that the content be about anything so he chose to create a mood with which middle-class America could identify. The text chosen was no coincidence and the words \"New Start\" were used for a specific reason [Fox]. Both Lange and Shahn\'s work depict the down-trodden, dissatisfied and deflated people that the New Deal was supposed to be helping. Both works showed just how bad it could be for middle-class America. The similarities are almost endless, including the clothing, colors, forlorn facial expressions, farm setting, and general feel of desperation. Basically, all one would need to do would be to place the same text on Lange\'s photograph and the exact same message would come across.\n\nLange\'s image is a black and white photograph of a real, live mother \"of seven children\" and she is desperate to provide a better life for her children [Golden]. Shahn\'s painting is nearly all black and white (even though a plethora of color paints were available at the time) and shows a man who is obviously disappointed that he cannot provide better for his family. Both images show how deeply the economic crisis is and how hopeless it seems to both men and women. More importantly, both images were purposefully used to illustrate how bad the living conditions were and this opened the door to the discussion of the benefits of the New Deal. Much of the artwork during that time was depressing and showed the immense suffering of our people. These two examples just happened to be among the many that were used to further political agendas.\n\nOut of the five photographs taken that day in Nipomo, \"Migrant Mother\" became the most well-known. The reason could be the composition of the photo, the way the light falls on the mother\'s face, the fact that three bashful or ashamed children are shown in the frame, the amount of tent showing along the edges of the frame, or any number of things. The predominant fact is that this was one of the first photographs that was used for political propaganda and it set the definition of the word \"documentary\" to this type of image. This was not a pretty image. It was not a lush landscape with waterfalls, weeping willow trees and a family of rabbits in a picturesque meadow. This was unrefined and organic. The raw image exposed the dark underbelly of our land and its people during the Great Depression. The United States was the Golden Child of the World and in the wake of the Great Depression, the true depiction of our country was coming out for all to see. Lange\'s photograph was innovative because it did not sugarcoat anything about what our people were going through during those hopeless financial times. Regardless if whether it was used to further a political agenda or not, it was a real-life image of a real family and it created an impact that we still talk about today.\n\nWhen Lange contacted an editor at a San Francisco newspaper, after developing the string of five images she took that day, the editor informed some federal authorities and subsequently published an article featuring two of Lange\'s photos. As a direct result of the article and the call to the authorities, a load of food (20,000 pounds) was delivered to the camp where Lange shot the photographs. The impact of this photo would become even greater when author, John Steinbeck used the details of the article and photo to create the fictional story behind his famed novel, \"The Grapes of Wrath\" [Shindo].\n\nToday, Lange\'s image of the woman, named Florence Owen Thompson (1903-1983), known as the Migrant Mother, has been reprinted more than a million times. The image of this mother of seven has appeared on U.S. stamps, t-shirts, Mother\'s Day cards, books, posters, and many other venues. The face of Ms. Thompson has become known as the face of the New Deal. She represented the group of New Deal loyalists that wanted to focus the light on the depraved capitalist system against which President Roosevelt was so adamantly fighting. They were successful and this image is well-known because it created a certain emotional feel that reminds us all of how bad our lives <em>could be</em>. The New Deal was a social program that was sold to the America based on propaganda and emotion. It created some amazing programs that are still in existence today and benefits for Americans. I agree with the premise and tenets of the New Deal. However, I do not believe that the emotional feel created by this photo was reality. But then again, photos are very rarely true reality.\n\nPersonally, I find that the image is a striking reminder that what we see is not always what we get, or what is true reality. The true facts behind the photo were hidden and covered up for decades. For instance, after many years passed and many interviews were conducted, the discovery was made that Ms. Thompson was not a sharecropper. Nor was she a migrant farm worker. Neither was her husband. She was not a single mother with seven children and she had not sold her tent and car for food. She had not been living off birds that her children had killed and she has not even a pea picker[Shindo].\n\nUpon further investigation, it was determined that Ms. Thompson was simply sitting along the side of the road with three children, waiting for her husband and sons to return from town. Soon after Lange left the scene where the infamous photo was taken, Thompson\'s husband returned with a fixed radiator, installed it, started the car and drove to the next town to start\n\nworking. Most significant of all, Ms. Thompson and her family never received a single bite of the food that was delivered to the camp in the week following the published article. In fact, Ms. Thompson had been living in California for ten years, in her own house, and her husband had been working in mills for years [Shindo].\n\nToday, we live in the age of technology. We have video tape, editing software, and lightening fast delivery of the \"facts.\" The biggest lesson to take away from these amazing photographs is that it is always best to be skeptical of everything you hear and see. Take the time to investigate, to question and to determine your own impressions and feelings about life events. That advice is especially true regarding all things political. Just because the New Deal sought to better the lives of the middle-class, it was not okay to use falsities to create a platform for their agenda. Preserve this image forever to remind us all that life is fragile and we must research the facts and make our own decisions about what to believe.\n\n&nbsp;\n\n<strong>Works Cited:</strong>\n\n<strong>Becker-Ohrn</strong>, Karin.  <em>Dorthea Lange: The Documentary Tradition</em>.  Baton Rouge: Lousians State University Press, 1980. This is a college-level textbook that I used to research President Roosevelt, The New Deal, and the political propagandists that were prevalent in 1936. I also researched Farm Settlement Administration fieldwork and the number of images and negatives taken by Stryker\'s photographers.\n\n<strong>Fiero</strong>, Gloria. <em>The Humanist Tradition</em>, Volume Two, Chapter 34, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed November 11-13,2011. This is a college-level course textbook that I used to learn about how Dorthea Lange\'s work left a documentary record of rural poverty and oppression during the Great Depression.\n\n<strong>Fox</strong>, Margalit. <em>Bernarda Bryson Shahn, Painter, Dies at 101</em>.  Published December 16, 2004.  Accessed: November 10, 2011. I used this page to research painter Shahn. &lt;http://www.nytimes.com/2004/12/16/arts/16shahn.html&gt;.\n\n<strong>Golden</strong>, Reuel.  <em>Photo-journalism: 1855 to the present</em>.  New York: Abbeville Press, 2005. This is a compilation of biographies of prominent documentary photographers that I used to research Lange\'s style of photography and the subject matter she was known for capturing.\n\n<strong>Meltzer</strong>, Milton.  <em>Dorthea Lange: A Photographer\'s Life</em>.  Syracuse: Syracuse University Press, 2000. This is a Biography that I used to research Lange\'s marriage to Paul Taylor and how he instigated change in Lange\'s work. I also researched Lange\'s photographic style in general.\n\n<strong>Shindo</strong>, Charles.  <em>Dust Bowl Migrants in the American Imagination</em>.  Lawrence: University Press of Kansas, 1997. This is a college-level textbook that I used to research the \"Migrant Mother\" image and how its popularity lead to furthering the agendas of Lange and author John Steinbeck.\n\n<strong>Street</strong>, Richard Steven. <em>Photographing Farmworkers in California</em>.  Stanford: Stanford University Press, 2004. This is a photographic documentary of Migrant farm workers in California as seen through the eyes of numerous photographers. I used this book to research the work on Lange as it relates to whether the story behind the \"Migrant Mother\" image was true.','Real Life or Propaganda?','','inherit','open','open','','2135-revision','','','2011-11-21 21:51:50','2011-11-22 03:51:50','',2135,'http://jeanatacc.com/2011/?p=2138',0,'revision','',0),(2139,41,'2011-11-21 21:53:42','2011-11-22 03:53:42','','Shahn\'s \"A Mule and a Plow\" Source: : http://www.michenermuseum.org/exhibits/bryson.php','Shahn\'s \"A Mule and a Plow\" Source: : http://www.michenermuseum.org/exhibits/bryson.php','inherit','open','open','','shahn','','','2011-11-21 21:53:42','2011-11-22 03:53:42','',2135,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn.jpg',0,'attachment','image/jpeg',0),(2140,41,'2011-11-21 21:52:50','2011-11-22 03:52:50','<strong>Sometimes photographs tell the wrong story...</strong>\n\n[caption id=\"attachment_2137\" align=\"alignright\" width=\"230\" caption=\"Dorthea Lange&#039;s &quot;Migrant Mother.&quot; Source: http://www.loc.gov/rr/print/list/128_migm.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1.jpg\"><img class=\"size-medium wp-image-2137\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1-230x300.jpg\" alt=\"\" width=\"230\" height=\"300\" /></a>[/caption]\n\n<strong>\n</strong>\n\nDorothea Lange (1895 – 1965) was an influential American documentary photojournalist and photographer that was well-known for her work for the Farm Security Administration, during and after the Great Depression. Lange snapped her most renowned photograph, “Migrant Mother,” in March of 1936, while she was in Nipomo, California, a rural town 175 miles from Los Angeles. This iconic photograph requires preservation because it is an example of how a single photograph brings about lasting social and political change, regardless of the story behind the image is true.\n\n<!--more-->\n\n&nbsp;\n\nThe famed photograph was part of five shots taken on that cold and damp day along the edges of a pea field in California [Street]. Lange was a famous portrait photographer and had owned a successful photography business. She was fortunate to live rather comfortably doing what she loved. Well, rather comfortably until the collapse of the New York Stock Exchange in 1929 when it became impossible for most people to afford to have professional portraits taken [Street].\n\nThe Great Depression affected her financially and emotionally, on a deep level. She took her camera from her comfortable studio to the street, or to the fields, in this case. Her task was to preserve the social and historical ramifications of the Great Depression [Becker-Ohrn].  She set out to photograph that segment of the population hit the hardest by the economic crisis. She trekked deep in to the farmlands of California, carrying her camera, numerous canisters of black and white film and a talent for blending in with the environment. Her mission was to capture the human condition at its most natural, vulnerable, raw and unaware[Becker-Ohrn]. “Migrant Mother” is a perfect example Lange’s ability to capture emotion and desperation in a black and white image. She chose her subjects for their realistic quality and for their ability to tell a story without words [Golden]. These were often worn-out, disappointed, bewildered and beleaguered faces. She specialized in displaying their sullen and desolate lives [Golden]. Her photos showed the plight of our country’s largest segment of people and she was just doing her job [Meltzer]. Or, was she? Could the motive have been about something different?\n\nIn 1936, U.S. President, Franklin D. Roosevelt had won re-election by a landslide, even though the Great Depression was in its eighth year. Roosevelt had instituted several programs that were favored by the American people, including the Social Security Act and unemployment benefits [Becker-Ohrn]. His goal was to consolidate the economy and focus on agriculture and industry. One of the outcomes of this giant push toward relief for the U.S. citizenry was a state-controlled relief program called The Historical Section of the Resettlement Administration. The name changed to the \"Farm Security Administration\" (FSA) in 1937 [Becker-Ohrn]. Roosevelt appointed Ron Stryker to head the organization and gave him the task of documenting the disastrous living conditions in agricultural areas among rural America. Many famous photographers worked for Stryker, including Lange (who joined his group in 1935). In total, the FSA produced about 170,000 negatives and 70,000 original prints to document the era. Today, much of what we know about the Great Depression is based on the FSA photographs [Becker-Ohrn].\n\nAfter working for Stryker for a year or two, Lange began to realize that strong political ambitions were surrounding the FSA and that these ambitions had to do with the \"New Deal,\" proposed by President Roosevelt [Shindo]. Lange began to see that the FSA was exploiting the privacy of the poor and unfortunate in an effort to propagandize the New Deal. The details here are a bit foggy, perhaps purposefully so, but Lange and her husband saw this situation as an opportunity to further their own interests [Street].\n\nLange married Paul Schuster Taylor, Professor of Economics at the University of California, Berkeley, in 1935. Taylor was a left-wing labor economist and the blatant propaganda created by his wife\'s photos placed him in good favor with certain political camps [Meltzer]. Some say that his connection to the Roosevelt administration was unusually close and that he benefited immensely (in a financial and professional sense) from the photos. After they married, Taylor groomed Lange politically and educated her in the areas of social and political protocol. As a team, they spent five years documenting extreme poverty and the blatant exploitation of migrant workers and sharecroppers. Primarily, Lange took the photographs as documentation of their claims and Taylor assembled economic, demographic and migratory data that was used for reporting to the Roosevelt Administration [Meltzer].\n\nRoosevelt implemented a propaganda machine that cranked out all sorts of information. The news media was in its infancy in the mid-1930s. There were no 24-hour news broadcasts and what information was relayed to the country was relayed on purpose. In fact, Lange\'s FSA photographs were not the only means of getting the word out about the amazing benefits of the New Deal. Lange\'s black and white \"Migrant Mother\" has the same look and feel of the painting (commissioned by Stryker) that was turned in to a Resettlement Administration poster by Bernarda Bryson Shahn.\n\nShahn painted a disheveled and exhausted, ethnic (non-white) man dressed in threadbare and dusty clothing, leaning on a dilapidated fence in front of a ramshackle farmhouse, just next to his noticeably weak mule. The only text on this painting is, \"A Mule and a Plow. Resettlement Administration. Small Loans Give Farmers a New Start.\" This painting was commissioned by Stryker to tell a political story. Stryker could request that the content be about anything so he chose to create a mood with which middle-class America could identify. The text chosen was no coincidence and the words \"New Start\" were used for a specific reason [Fox]. Both Lange and Shahn\'s work depict the down-trodden, dissatisfied and deflated people that the New Deal was supposed to be helping. Both works showed just how bad it could be for middle-class America. The similarities are almost endless, including the clothing, colors, forlorn facial expressions, farm setting, and general feel of desperation. Basically, all one would need to do would be to place the same text on Lange\'s photograph and the exact same message would come across.\n\nLange\'s image is a black and white photograph of a real, live mother \"of seven children\" and she is desperate to provide a better life for her children [Golden]. Shahn\'s painting is nearly all black and white (even though a plethora of color paints were available at the time) and shows a man who is obviously disappointed that he cannot provide better for his family. Both images show how deeply the economic crisis is and how hopeless it seems to both men and women. More importantly, both images were purposefully used to illustrate how bad the living conditions were and this opened the door to the discussion of the benefits of the New Deal. Much of the artwork during that time was depressing and showed the immense suffering of our people. These two examples just happened to be among the many that were used to further political agendas.\n\nOut of the five photographs taken that day in Nipomo, \"Migrant Mother\" became the most well-known. The reason could be the composition of the photo, the way the light falls on the mother\'s face, the fact that three bashful or ashamed children are shown in the frame, the amount of tent showing along the edges of the frame, or any number of things. The predominant fact is that this was one of the first photographs that was used for political propaganda and it set the definition of the word \"documentary\" to this type of image. This was not a pretty image. It was not a lush landscape with waterfalls, weeping willow trees and a family of rabbits in a picturesque meadow. This was unrefined and organic. The raw image exposed the dark underbelly of our land and its people during the Great Depression. The United States was the Golden Child of the World and in the wake of the Great Depression, the true depiction of our country was coming out for all to see. Lange\'s photograph was innovative because it did not sugarcoat anything about what our people were going through during those hopeless financial times. Regardless if whether it was used to further a political agenda or not, it was a real-life image of a real family and it created an impact that we still talk about today.\n\nWhen Lange contacted an editor at a San Francisco newspaper, after developing the string of five images she took that day, the editor informed some federal authorities and subsequently published an article featuring two of Lange\'s photos. As a direct result of the article and the call to the authorities, a load of food (20,000 pounds) was delivered to the camp where Lange shot the photographs. The impact of this photo would become even greater when author, John Steinbeck used the details of the article and photo to create the fictional story behind his famed novel, \"The Grapes of Wrath\" [Shindo].\n\nToday, Lange\'s image of the woman, named Florence Owen Thompson (1903-1983), known as the Migrant Mother, has been reprinted more than a million times. The image of this mother of seven has appeared on U.S. stamps, t-shirts, Mother\'s Day cards, books, posters, and many other venues. The face of Ms. Thompson has become known as the face of the New Deal. She represented the group of New Deal loyalists that wanted to focus the light on the depraved capitalist system against which President Roosevelt was so adamantly fighting. They were successful and this image is well-known because it created a certain emotional feel that reminds us all of how bad our lives <em>could be</em>. The New Deal was a social program that was sold to the America based on propaganda and emotion. It created some amazing programs that are still in existence today and benefits for Americans. I agree with the premise and tenets of the New Deal. However, I do not believe that the emotional feel created by this photo was reality. But then again, photos are very rarely true reality.\n\nPersonally, I find that the image is a striking reminder that what we see is not always what we get, or what is true reality. The true facts behind the photo were hidden and covered up for decades. For instance, after many years passed and many interviews were conducted, the discovery was made that Ms. Thompson was not a sharecropper. Nor was she a migrant farm worker. Neither was her husband. She was not a single mother with seven children and she had not sold her tent and car for food. She had not been living off birds that her children had killed and she has not even a pea picker[Shindo].\n\nUpon further investigation, it was determined that Ms. Thompson was simply sitting along the side of the road with three children, waiting for her husband and sons to return from town. Soon after Lange left the scene where the infamous photo was taken, Thompson\'s husband returned with a fixed radiator, installed it, started the car and drove to the next town to start\n\nworking. Most significant of all, Ms. Thompson and her family never received a single bite of the food that was delivered to the camp in the week following the published article. In fact, Ms. Thompson had been living in California for ten years, in her own house, and her husband had been working in mills for years [Shindo].\n\nToday, we live in the age of technology. We have video tape, editing software, and lightening fast delivery of the \"facts.\" The biggest lesson to take away from these amazing photographs is that it is always best to be skeptical of everything you hear and see. Take the time to investigate, to question and to determine your own impressions and feelings about life events. That advice is especially true regarding all things political. Just because the New Deal sought to better the lives of the middle-class, it was not okay to use falsities to create a platform for their agenda. Preserve this image forever to remind us all that life is fragile and we must research the facts and make our own decisions about what to believe.\n\n&nbsp;\n\n<strong>Works Cited:</strong>\n\n<strong>Becker-Ohrn</strong>, Karin.  <em>Dorthea Lange: The Documentary Tradition</em>.  Baton Rouge: Lousians State University Press, 1980. This is a college-level textbook that I used to research President Roosevelt, The New Deal, and the political propagandists that were prevalent in 1936. I also researched Farm Settlement Administration fieldwork and the number of images and negatives taken by Stryker\'s photographers.\n\n<strong>Fiero</strong>, Gloria. <em>The Humanist Tradition</em>, Volume Two, Chapter 34, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed November 11-13,2011. This is a college-level course textbook that I used to learn about how Dorthea Lange\'s work left a documentary record of rural poverty and oppression during the Great Depression.\n\n<strong>Fox</strong>, Margalit. <em>Bernarda Bryson Shahn, Painter, Dies at 101</em>.  Published December 16, 2004.  Accessed: November 10, 2011. I used this page to research painter Shahn. &lt;http://www.nytimes.com/2004/12/16/arts/16shahn.html&gt;.\n\n<strong>Golden</strong>, Reuel.  <em>Photo-journalism: 1855 to the present</em>.  New York: Abbeville Press, 2005. This is a compilation of biographies of prominent documentary photographers that I used to research Lange\'s style of photography and the subject matter she was known for capturing.\n\n<strong>Meltzer</strong>, Milton.  <em>Dorthea Lange: A Photographer\'s Life</em>.  Syracuse: Syracuse University Press, 2000. This is a Biography that I used to research Lange\'s marriage to Paul Taylor and how he instigated change in Lange\'s work. I also researched Lange\'s photographic style in general.\n\n<strong>Shindo</strong>, Charles.  <em>Dust Bowl Migrants in the American Imagination</em>.  Lawrence: University Press of Kansas, 1997. This is a college-level textbook that I used to research the \"Migrant Mother\" image and how its popularity lead to furthering the agendas of Lange and author John Steinbeck.\n\n<strong>Street</strong>, Richard Steven. <em>Photographing Farmworkers in California</em>.  Stanford: Stanford University Press, 2004. This is a photographic documentary of Migrant farm workers in California as seen through the eyes of numerous photographers. I used this book to research the work on Lange as it relates to whether the story behind the \"Migrant Mother\" image was true.','Real Life or Propaganda?','','inherit','open','open','','2135-revision-2','','','2011-11-21 21:52:50','2011-11-22 03:52:50','',2135,'http://jeanatacc.com/2011/?p=2140',0,'revision','',0),(2141,41,'2011-11-21 21:58:11','2011-11-22 03:58:11','<strong>Sometimes photographs tell the wrong story...</strong>\r\n\r\n[caption id=\"attachment_2137\" align=\"alignright\" width=\"230\" caption=\"Dorthea Lange&#039;s &quot;Migrant Mother.&quot; Source: http://www.loc.gov/rr/print/list/128_migm.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1.jpg\"><img class=\"size-medium wp-image-2137\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1-230x300.jpg\" alt=\"\" width=\"230\" height=\"300\" /></a>[/caption]\r\n\r\n<strong>\r\n</strong>\r\n\r\nDorothea Lange (1895 – 1965) was an influential American documentary photojournalist and photographer that was well-known for her work for the Farm Security Administration, during and after the Great Depression. Lange snapped her most renowned photograph, “Migrant Mother,” in March of 1936, while she was in Nipomo, California, a rural town 175 miles from Los Angeles. This iconic photograph requires preservation because it is an example of how a single photograph brings about lasting social and political change, regardless of the story behind the image is true.\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\nThe famed photograph was part of five shots taken on that cold and damp day along the edges of a pea field in California [Street]. Lange was a famous portrait photographer and had owned a successful photography business. She was fortunate to live rather comfortably doing what she loved. Well, rather comfortably until the collapse of the New York Stock Exchange in 1929 when it became impossible for most people to afford to have professional portraits taken [Street].\r\n\r\nThe Great Depression affected her financially and emotionally, on a deep level. She took her camera from her comfortable studio to the street, or to the fields, in this case. Her task was to preserve the social and historical ramifications of the Great Depression [Becker-Ohrn].  She set out to photograph that segment of the population hit the hardest by the economic crisis. She trekked deep in to the farmlands of California, carrying her camera, numerous canisters of black and white film and a talent for blending in with the environment. Her mission was to capture the human condition at its most natural, vulnerable, raw and unaware[Becker-Ohrn]. “Migrant Mother” is a perfect example Lange’s ability to capture emotion and desperation in a black and white image. She chose her subjects for their realistic quality and for their ability to tell a story without words [Golden]. These were often worn-out, disappointed, bewildered and beleaguered faces. She specialized in displaying their sullen and desolate lives [Golden]. Her photos showed the plight of our country’s largest segment of people and she was just doing her job [Meltzer]. Or, was she? Could the motive have been about something different?\r\n\r\nIn 1936, U.S. President, Franklin D. Roosevelt had won re-election by a landslide, even though the Great Depression was in its eighth year. Roosevelt had instituted several programs that were favored by the American people, including the Social Security Act and unemployment benefits [Becker-Ohrn]. His goal was to consolidate the economy and focus on agriculture and industry. One of the outcomes of this giant push toward relief for the U.S. citizenry was a state-controlled relief program called The Historical Section of the Resettlement Administration. The name changed to the \"Farm Security Administration\" (FSA) in 1937 [Becker-Ohrn]. Roosevelt appointed Ron Stryker to head the organization and gave him the task of documenting the disastrous living conditions in agricultural areas among rural America. Many famous photographers worked for Stryker, including Lange (who joined his group in 1935). In total, the FSA produced about 170,000 negatives and 70,000 original prints to document the era. Today, much of what we know about the Great Depression is based on the FSA photographs [Becker-Ohrn].\r\n\r\nAfter working for Stryker for a year or two, Lange began to realize that strong political ambitions were surrounding the FSA and that these ambitions had to do with the \"New Deal,\" proposed by President Roosevelt [Shindo]. Lange began to see that the FSA was exploiting the privacy of the poor and unfortunate in an effort to propagandize the New Deal. The details here are a bit foggy, perhaps purposefully so, but Lange and her husband saw this situation as an opportunity to further their own interests [Street].\r\n\r\nLange married Paul Schuster Taylor, Professor of Economics at the University of California, Berkeley, in 1935. Taylor was a left-wing labor economist and the blatant propaganda created by his wife\'s photos placed him in good favor with certain political camps [Meltzer]. Some say that his connection to the Roosevelt administration was unusually close and that he benefited immensely (in a financial and professional sense) from the photos. After they married, Taylor groomed Lange politically and educated her in the areas of social and political protocol. As a team, they spent five years documenting extreme poverty and the blatant exploitation of migrant workers and sharecroppers. Primarily, Lange took the photographs as documentation of their claims and Taylor assembled economic, demographic and migratory data that was used for reporting to the Roosevelt Administration [Meltzer].\r\n\r\nRoosevelt implemented a propaganda machine that cranked out all sorts of information. The news media was in its infancy in the mid-1930s. There were no 24-hour news broadcasts and what information was relayed to the country was relayed on purpose. In fact, Lange\'s FSA photographs were not the only means of getting the word out about the amazing benefits of the New Deal. Lange\'s black and white \"Migrant Mother\" has the same look and feel of the painting (commissioned by Stryker) that was turned in to a Resettlement Administration poster by Bernarda Bryson Shahn.\r\n\r\n[caption id=\"attachment_2139\" align=\"alignleft\" width=\"196\" caption=\"Shahn&#039;s &quot;A Mule and a Plow&quot; Source: : http://www.michenermuseum.org/exhibits/bryson.php\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn.jpg\"><img class=\"size-medium wp-image-2139\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a>[/caption]\r\n\r\nShahn painted a disheveled and exhausted, ethnic (non-white) man dressed in threadbare and dusty clothing, leaning on a dilapidated fence in front of a ramshackle farmhouse, just next to his noticeably weak mule. The only text on this painting is, \"A Mule and a Plow. Resettlement Administration. Small Loans Give Farmers a New Start.\" This painting was commissioned by Stryker to tell a political story. Stryker could request that the content be about anything so he chose to create a mood with which middle-class America could identify. The text chosen was no coincidence and the words \"New Start\" were used for a specific reason [Fox]. Both Lange and Shahn\'s work depict the down-trodden, dissatisfied and deflated people that the New Deal was supposed to be helping. Both works showed just how bad it could be for middle-class America. The similarities are almost endless, including the clothing, colors, forlorn facial expressions, farm setting, and general feel of desperation. Basically, all one would need to do would be to place the same text on Lange\'s photograph and the exact same message would come across.\r\n\r\nLange\'s image is a black and white photograph of a real, live mother \"of seven children\" and she is desperate to provide a better life for her children [Golden]. Shahn\'s painting is nearly all black and white (even though a plethora of color paints were available at the time) and shows a man who is obviously disappointed that he cannot provide better for his family. Both images show how deeply the economic crisis is and how hopeless it seems to both men and women. More importantly, both images were purposefully used to illustrate how bad the living conditions were and this opened the door to the discussion of the benefits of the New Deal. Much of the artwork during that time was depressing and showed the immense suffering of our people. These two examples just happened to be among the many that were used to further political agendas.\r\n\r\nOut of the five photographs taken that day in Nipomo, \"Migrant Mother\" became the most well-known. The reason could be the composition of the photo, the way the light falls on the mother\'s face, the fact that three bashful or ashamed children are shown in the frame, the amount of tent showing along the edges of the frame, or any number of things. The predominant fact is that this was one of the first photographs that was used for political propaganda and it set the definition of the word \"documentary\" to this type of image. This was not a pretty image. It was not a lush landscape with waterfalls, weeping willow trees and a family of rabbits in a picturesque meadow. This was unrefined and organic. The raw image exposed the dark underbelly of our land and its people during the Great Depression. The United States was the Golden Child of the World and in the wake of the Great Depression, the true depiction of our country was coming out for all to see. Lange\'s photograph was innovative because it did not sugarcoat anything about what our people were going through during those hopeless financial times. Regardless if whether it was used to further a political agenda or not, it was a real-life image of a real family and it created an impact that we still talk about today.\r\n\r\nWhen Lange contacted an editor at a San Francisco newspaper, after developing the string of five images she took that day, the editor informed some federal authorities and subsequently published an article featuring two of Lange\'s photos. As a direct result of the article and the call to the authorities, a load of food (20,000 pounds) was delivered to the camp where Lange shot the photographs. The impact of this photo would become even greater when author, John Steinbeck used the details of the article and photo to create the fictional story behind his famed novel, \"The Grapes of Wrath\" [Shindo].\r\n\r\nToday, Lange\'s image of the woman, named Florence Owen Thompson (1903-1983), known as the Migrant Mother, has been reprinted more than a million times. The image of this mother of seven has appeared on U.S. stamps, t-shirts, Mother\'s Day cards, books, posters, and many other venues. The face of Ms. Thompson has become known as the face of the New Deal. She represented the group of New Deal loyalists that wanted to focus the light on the depraved capitalist system against which President Roosevelt was so adamantly fighting. They were successful and this image is well-known because it created a certain emotional feel that reminds us all of how bad our lives <em>could be</em>. The New Deal was a social program that was sold to the America based on propaganda and emotion. It created some amazing programs that are still in existence today and benefits for Americans. I agree with the premise and tenets of the New Deal. However, I do not believe that the emotional feel created by this photo was reality. But then again, photos are very rarely true reality.\r\n\r\nPersonally, I find that the image is a striking reminder that what we see is not always what we get, or what is true reality. The true facts behind the photo were hidden and covered up for decades. For instance, after many years passed and many interviews were conducted, the discovery was made that Ms. Thompson was not a sharecropper. Nor was she a migrant farm worker. Neither was her husband. She was not a single mother with seven children and she had not sold her tent and car for food. She had not been living off birds that her children had killed and she has not even a pea picker[Shindo].\r\n\r\nUpon further investigation, it was determined that Ms. Thompson was simply sitting along the side of the road with three children, waiting for her husband and sons to return from town. Soon after Lange left the scene where the infamous photo was taken, Thompson\'s husband returned with a fixed radiator, installed it, started the car and drove to the next town to start\r\n\r\nworking. Most significant of all, Ms. Thompson and her family never received a single bite of the food that was delivered to the camp in the week following the published article. In fact, Ms. Thompson had been living in California for ten years, in her own house, and her husband had been working in mills for years [Shindo].\r\n\r\nToday, we live in the age of technology. We have video tape, editing software, and lightening fast delivery of the \"facts.\" The biggest lesson to take away from these amazing photographs is that it is always best to be skeptical of everything you hear and see. Take the time to investigate, to question and to determine your own impressions and feelings about life events. That advice is especially true regarding all things political. Just because the New Deal sought to better the lives of the middle-class, it was not okay to use falsities to create a platform for their agenda. Preserve this image forever to remind us all that life is fragile and we must research the facts and make our own decisions about what to believe.\r\n\r\n&nbsp;\r\n\r\n<strong>Works Cited:</strong>\r\n\r\n<strong>Becker-Ohrn</strong>, Karin.  <em>Dorthea Lange: The Documentary Tradition</em>.  Baton Rouge: Lousians State University Press, 1980. This is a college-level textbook that I used to research President Roosevelt, The New Deal, and the political propagandists that were prevalent in 1936. I also researched Farm Settlement Administration fieldwork and the number of images and negatives taken by Stryker\'s photographers.\r\n\r\n<strong>Fiero</strong>, Gloria. <em>The Humanist Tradition</em>, Volume Two, Chapter 34, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed November 11-13,2011. This is a college-level course textbook that I used to learn about how Dorthea Lange\'s work left a documentary record of rural poverty and oppression during the Great Depression.\r\n\r\n<strong>Fox</strong>, Margalit. <em>Bernarda Bryson Shahn, Painter, Dies at 101</em>.  Published December 16, 2004.  Accessed: November 10, 2011. I used this page to research painter Shahn. &lt;http://www.nytimes.com/2004/12/16/arts/16shahn.html&gt;.\r\n\r\n<strong>Golden</strong>, Reuel.  <em>Photo-journalism: 1855 to the present</em>.  New York: Abbeville Press, 2005. This is a compilation of biographies of prominent documentary photographers that I used to research Lange\'s style of photography and the subject matter she was known for capturing.\r\n\r\n<strong>Meltzer</strong>, Milton.  <em>Dorthea Lange: A Photographer\'s Life</em>.  Syracuse: Syracuse University Press, 2000. This is a Biography that I used to research Lange\'s marriage to Paul Taylor and how he instigated change in Lange\'s work. I also researched Lange\'s photographic style in general.\r\n\r\n<strong>Shindo</strong>, Charles.  <em>Dust Bowl Migrants in the American Imagination</em>.  Lawrence: University Press of Kansas, 1997. This is a college-level textbook that I used to research the \"Migrant Mother\" image and how its popularity lead to furthering the agendas of Lange and author John Steinbeck.\r\n\r\n<strong>Street</strong>, Richard Steven. <em>Photographing Farmworkers in California</em>.  Stanford: Stanford University Press, 2004. This is a photographic documentary of Migrant farm workers in California as seen through the eyes of numerous photographers. I used this book to research the work on Lange as it relates to whether the story behind the \"Migrant Mother\" image was true.\r\n<p style=\"text-align: left\" align=\"center\">Thank you for reading my essay!</p>\r\n<p style=\"text-align: left\" align=\"center\"><strong>Happy Thanksgiving!</strong></p>','Real Life or Propaganda?','','inherit','open','open','','2135-revision-3','','','2011-11-21 21:58:11','2011-11-22 03:58:11','',2135,'http://jeanatacc.com/2011/?p=2141',0,'revision','',0),(2142,41,'2011-11-21 21:58:50','2011-11-22 03:58:50','<strong>Sometimes photographs tell the wrong story...</strong>\r\n\r\n[caption id=\"attachment_2137\" align=\"alignright\" width=\"230\" caption=\"Dorthea Lange&#039;s &quot;Migrant Mother.&quot; Source: http://www.loc.gov/rr/print/list/128_migm.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1.jpg\"><img class=\"size-medium wp-image-2137\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1-230x300.jpg\" alt=\"\" width=\"230\" height=\"300\" /></a>[/caption]\r\n\r\n<strong>\r\n</strong>\r\n\r\nDorothea Lange (1895 – 1965) was an influential American documentary photojournalist and photographer that was well-known for her work for the Farm Security Administration, during and after the Great Depression. Lange snapped her most renowned photograph, “Migrant Mother,” in March of 1936, while she was in Nipomo, California, a rural town 175 miles from Los Angeles. This iconic photograph requires preservation because it is an example of how a single photograph brings about lasting social and political change, regardless of the story behind the image is true.\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\nThe famed photograph was part of five shots taken on that cold and damp day along the edges of a pea field in California [Street]. Lange was a famous portrait photographer and had owned a successful photography business. She was fortunate to live rather comfortably doing what she loved. Well, rather comfortably until the collapse of the New York Stock Exchange in 1929 when it became impossible for most people to afford to have professional portraits taken [Street].\r\n\r\nThe Great Depression affected her financially and emotionally, on a deep level. She took her camera from her comfortable studio to the street, or to the fields, in this case. Her task was to preserve the social and historical ramifications of the Great Depression [Becker-Ohrn].  She set out to photograph that segment of the population hit the hardest by the economic crisis. She trekked deep in to the farmlands of California, carrying her camera, numerous canisters of black and white film and a talent for blending in with the environment. Her mission was to capture the human condition at its most natural, vulnerable, raw and unaware[Becker-Ohrn]. “Migrant Mother” is a perfect example Lange’s ability to capture emotion and desperation in a black and white image. She chose her subjects for their realistic quality and for their ability to tell a story without words [Golden]. These were often worn-out, disappointed, bewildered and beleaguered faces. She specialized in displaying their sullen and desolate lives [Golden]. Her photos showed the plight of our country’s largest segment of people and she was just doing her job [Meltzer]. Or, was she? Could the motive have been about something different?\r\n\r\nIn 1936, U.S. President, Franklin D. Roosevelt had won re-election by a landslide, even though the Great Depression was in its eighth year. Roosevelt had instituted several programs that were favored by the American people, including the Social Security Act and unemployment benefits [Becker-Ohrn]. His goal was to consolidate the economy and focus on agriculture and industry. One of the outcomes of this giant push toward relief for the U.S. citizenry was a state-controlled relief program called The Historical Section of the Resettlement Administration. The name changed to the \"Farm Security Administration\" (FSA) in 1937 [Becker-Ohrn]. Roosevelt appointed Ron Stryker to head the organization and gave him the task of documenting the disastrous living conditions in agricultural areas among rural America. Many famous photographers worked for Stryker, including Lange (who joined his group in 1935). In total, the FSA produced about 170,000 negatives and 70,000 original prints to document the era. Today, much of what we know about the Great Depression is based on the FSA photographs [Becker-Ohrn].\r\n\r\nAfter working for Stryker for a year or two, Lange began to realize that strong political ambitions were surrounding the FSA and that these ambitions had to do with the \"New Deal,\" proposed by President Roosevelt [Shindo]. Lange began to see that the FSA was exploiting the privacy of the poor and unfortunate in an effort to propagandize the New Deal. The details here are a bit foggy, perhaps purposefully so, but Lange and her husband saw this situation as an opportunity to further their own interests [Street].\r\n\r\nLange married Paul Schuster Taylor, Professor of Economics at the University of California, Berkeley, in 1935. Taylor was a left-wing labor economist and the blatant propaganda created by his wife\'s photos placed him in good favor with certain political camps [Meltzer]. Some say that his connection to the Roosevelt administration was unusually close and that he benefited immensely (in a financial and professional sense) from the photos. After they married, Taylor groomed Lange politically and educated her in the areas of social and political protocol. As a team, they spent five years documenting extreme poverty and the blatant exploitation of migrant workers and sharecroppers. Primarily, Lange took the photographs as documentation of their claims and Taylor assembled economic, demographic and migratory data that was used for reporting to the Roosevelt Administration [Meltzer].\r\n\r\nRoosevelt implemented a propaganda machine that cranked out all sorts of information. The news media was in its infancy in the mid-1930s. There were no 24-hour news broadcasts and what information was relayed to the country was relayed on purpose. In fact, Lange\'s FSA photographs were not the only means of getting the word out about the amazing benefits of the New Deal. Lange\'s black and white \"Migrant Mother\" has the same look and feel of the painting (commissioned by Stryker) that was turned in to a Resettlement Administration poster by Bernarda Bryson Shahn.\r\n\r\n[caption id=\"attachment_2139\" align=\"alignleft\" width=\"196\" caption=\"Shahn&#039;s &quot;A Mule and a Plow&quot; Source: : http://www.michenermuseum.org/exhibits/bryson.php\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn.jpg\"><img class=\"size-medium wp-image-2139\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a>[/caption]\r\n\r\nShahn painted a disheveled and exhausted, ethnic (non-white) man dressed in threadbare and dusty clothing, leaning on a dilapidated fence in front of a ramshackle farmhouse, just next to his noticeably weak mule. The only text on this painting is, \"A Mule and a Plow. Resettlement Administration. Small Loans Give Farmers a New Start.\" This painting was commissioned by Stryker to tell a political story. Stryker could request that the content be about anything so he chose to create a mood with which middle-class America could identify. The text chosen was no coincidence and the words \"New Start\" were used for a specific reason [Fox]. Both Lange and Shahn\'s work depict the down-trodden, dissatisfied and deflated people that the New Deal was supposed to be helping. Both works showed just how bad it could be for middle-class America. The similarities are almost endless, including the clothing, colors, forlorn facial expressions, farm setting, and general feel of desperation. Basically, all one would need to do would be to place the same text on Lange\'s photograph and the exact same message would come across.\r\n\r\nLange\'s image is a black and white photograph of a real, live mother \"of seven children\" and she is desperate to provide a better life for her children [Golden]. Shahn\'s painting is nearly all black and white (even though a plethora of color paints were available at the time) and shows a man who is obviously disappointed that he cannot provide better for his family. Both images show how deeply the economic crisis is and how hopeless it seems to both men and women. More importantly, both images were purposefully used to illustrate how bad the living conditions were and this opened the door to the discussion of the benefits of the New Deal. Much of the artwork during that time was depressing and showed the immense suffering of our people. These two examples just happened to be among the many that were used to further political agendas.\r\n\r\nOut of the five photographs taken that day in Nipomo, \"Migrant Mother\" became the most well-known. The reason could be the composition of the photo, the way the light falls on the mother\'s face, the fact that three bashful or ashamed children are shown in the frame, the amount of tent showing along the edges of the frame, or any number of things. The predominant fact is that this was one of the first photographs that was used for political propaganda and it set the definition of the word \"documentary\" to this type of image. This was not a pretty image. It was not a lush landscape with waterfalls, weeping willow trees and a family of rabbits in a picturesque meadow. This was unrefined and organic. The raw image exposed the dark underbelly of our land and its people during the Great Depression. The United States was the Golden Child of the World and in the wake of the Great Depression, the true depiction of our country was coming out for all to see. Lange\'s photograph was innovative because it did not sugarcoat anything about what our people were going through during those hopeless financial times. Regardless if whether it was used to further a political agenda or not, it was a real-life image of a real family and it created an impact that we still talk about today.\r\n\r\nWhen Lange contacted an editor at a San Francisco newspaper, after developing the string of five images she took that day, the editor informed some federal authorities and subsequently published an article featuring two of Lange\'s photos. As a direct result of the article and the call to the authorities, a load of food (20,000 pounds) was delivered to the camp where Lange shot the photographs. The impact of this photo would become even greater when author, John Steinbeck used the details of the article and photo to create the fictional story behind his famed novel, \"The Grapes of Wrath\" [Shindo].\r\n\r\nToday, Lange\'s image of the woman, named Florence Owen Thompson (1903-1983), known as the Migrant Mother, has been reprinted more than a million times. The image of this mother of seven has appeared on U.S. stamps, t-shirts, Mother\'s Day cards, books, posters, and many other venues. The face of Ms. Thompson has become known as the face of the New Deal. She represented the group of New Deal loyalists that wanted to focus the light on the depraved capitalist system against which President Roosevelt was so adamantly fighting. They were successful and this image is well-known because it created a certain emotional feel that reminds us all of how bad our lives <em>could be</em>. The New Deal was a social program that was sold to the America based on propaganda and emotion. It created some amazing programs that are still in existence today and benefits for Americans. I agree with the premise and tenets of the New Deal. However, I do not believe that the emotional feel created by this photo was reality. But then again, photos are very rarely true reality.\r\n\r\nPersonally, I find that the image is a striking reminder that what we see is not always what we get, or what is true reality. The true facts behind the photo were hidden and covered up for decades. For instance, after many years passed and many interviews were conducted, the discovery was made that Ms. Thompson was not a sharecropper. Nor was she a migrant farm worker. Neither was her husband. She was not a single mother with seven children and she had not sold her tent and car for food. She had not been living off birds that her children had killed and she has not even a pea picker[Shindo].\r\n\r\nUpon further investigation, it was determined that Ms. Thompson was simply sitting along the side of the road with three children, waiting for her husband and sons to return from town. Soon after Lange left the scene where the infamous photo was taken, Thompson\'s husband returned with a fixed radiator, installed it, started the car and drove to the next town to start\r\n\r\nworking. Most significant of all, Ms. Thompson and her family never received a single bite of the food that was delivered to the camp in the week following the published article. In fact, Ms. Thompson had been living in California for ten years, in her own house, and her husband had been working in mills for years [Shindo].\r\n\r\nToday, we live in the age of technology. We have video tape, editing software, and lightening fast delivery of the \"facts.\" The biggest lesson to take away from these amazing photographs is that it is always best to be skeptical of everything you hear and see. Take the time to investigate, to question and to determine your own impressions and feelings about life events. That advice is especially true regarding all things political. Just because the New Deal sought to better the lives of the middle-class, it was not okay to use falsities to create a platform for their agenda. Preserve this image forever to remind us all that life is fragile and we must research the facts and make our own decisions about what to believe.\r\n\r\n&nbsp;\r\n\r\n<strong>Works Cited:</strong>\r\n\r\n<strong>Becker-Ohrn</strong>, Karin.  <em>Dorthea Lange: The Documentary Tradition</em>.  Baton Rouge: Lousians State University Press, 1980. This is a college-level textbook that I used to research President Roosevelt, The New Deal, and the political propagandists that were prevalent in 1936. I also researched Farm Settlement Administration fieldwork and the number of images and negatives taken by Stryker\'s photographers.\r\n\r\n<strong>Fiero</strong>, Gloria. <em>The Humanist Tradition</em>, Volume Two, Chapter 34, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed November 11-13,2011. This is a college-level course textbook that I used to learn about how Dorthea Lange\'s work left a documentary record of rural poverty and oppression during the Great Depression.\r\n\r\n<strong>Fox</strong>, Margalit. <em>Bernarda Bryson Shahn, Painter, Dies at 101</em>.  Published December 16, 2004.  Accessed: November 10, 2011. I used this page to research painter Shahn. &lt;http://www.nytimes.com/2004/12/16/arts/16shahn.html&gt;.\r\n\r\n<strong>Golden</strong>, Reuel.  <em>Photo-journalism: 1855 to the present</em>.  New York: Abbeville Press, 2005. This is a compilation of biographies of prominent documentary photographers that I used to research Lange\'s style of photography and the subject matter she was known for capturing.\r\n\r\n<strong>Meltzer</strong>, Milton.  <em>Dorthea Lange: A Photographer\'s Life</em>.  Syracuse: Syracuse University Press, 2000. This is a Biography that I used to research Lange\'s marriage to Paul Taylor and how he instigated change in Lange\'s work. I also researched Lange\'s photographic style in general.\r\n\r\n<strong>Shindo</strong>, Charles.  <em>Dust Bowl Migrants in the American Imagination</em>.  Lawrence: University Press of Kansas, 1997. This is a college-level textbook that I used to research the \"Migrant Mother\" image and how its popularity lead to furthering the agendas of Lange and author John Steinbeck.\r\n\r\n<strong>Street</strong>, Richard Steven. <em>Photographing Farmworkers in California</em>.  Stanford: Stanford University Press, 2004. This is a photographic documentary of Migrant farm workers in California as seen through the eyes of numerous photographers. I used this book to research the work on Lange as it relates to whether the story behind the \"Migrant Mother\" image was true.\r\n<p style=\"text-align: left\" align=\"center\">Thank you for reading my essay!</p>\r\n<p style=\"text-align: left\" align=\"center\"><strong>Happy Thanksgiving!</strong></p>','Real Life or Propaganda?','','inherit','open','open','','2135-revision-4','','','2011-11-21 21:58:50','2011-11-22 03:58:50','',2135,'http://jeanatacc.com/2011/?p=2142',0,'revision','',0),(2144,54,'2011-11-21 22:15:26','2011-11-22 04:15:26','&nbsp;\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster2.jpg\"><img class=\"aligncenter size-full wp-image-2147\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster2.jpg\" alt=\"\" width=\"300\" height=\"452\" /></a></p>\r\n<p align=\"center\"><a href=\"http://upload.wikimedia.org/wikipedia/en/4/48/Clockwork_orangeA.jpg\">http://upload.wikimedia.org/wikipedia/en/4/48/Clockwork_orangeA.jpg</a></p>\r\n“A Clockwork Orange” (1971) is worthy of preservation for providing a surreal, yet thought-provoking, commentary on moral choice and crime. Based on the book by Anthony Burgess, this dystopian satire was directed by Stanley Kubrick and stars Malcolm McDowell in unquestionably his most famous role as Alex DeLarge.<!--more-->\r\n\r\nThe story takes place in the not too distant future in London. Alex is a teenage hoodlum who goes around town with his four droogs, or friends, where they do “a bit of the old ultra-violence.” They fight other gangs, beat up homeless men, break into other people’s homes and commit rape to helpless women. After a break-in gone wrong, Alex is arrested and sentenced to fourteen years in prison. After two years, he is selected to be the test subject for an experimental technique that is supposed to “reform” criminals. Alex is injected with a serum, and forced to watch violent films where he slowly becomes more sick watching it to the point where every time he tries to do harm to people, nausea prevents him. Alex is then released back in society as a well-behaved citizen; though not by choice. But things eventually do not go to plan when he is left vulnerable to his victims, bent on revenge.\r\n\r\nBack in the 1970s, restrictions for sexuality and violence in film were being lifted. Instead, we were introduced to the MPAA ratings systems to show which audience is more suitable to a certain movie. Throughout this decade, Hollywood would break ground by giving us such violent films such as “Taxi Driver,” “Bonnie and Clyde,” “Dirty Harry,” and much more. “Clockwork Orange” was considered a very violent and very sexual movie, though the violence was more stylized than bloody. But it has extremely sexual overtones including nudity, rape, and a lot of phallic symbols. When it was first released, it received an X rating. Kubrick himself had to cut a few seconds to receive an R rating. A similar case would occur when Kubrick would cut a few seconds from his NC-17 rated final film, “Eyes Wide Shut,” to receive an R rating.\r\n\r\nMany of Kubrick’s trademarks are present in this film. Most of the background score consists of classical music, though in this case it’s mostly synthesized to give it a much more futuristic quality. Like most of Kubrick’s films, it doves deeper into the dehumanization of us all which it presented when Alex’s free will is taken away from him, making him into the titular “clockwork orange.” The book, as well as the movie, would introduce a new language by the author known as Nadsat. It is a combination of English slang, Russian words, and cockney rhymes. The film uses this new language, though it is not used very often as the director thought it would confuse audiences. The cinematography of the film also creates great point-of-view shots like when someone is on the floor, or in a corner, or even falling out of a window. Like I said, most of Kubrick’s films would push the envelope and the result would be either being something you love or hate.\r\n\r\nDavid Lynch’s “Blue Velvet” is another film that would fall into the same category as “Clockwork Orange” in terms of surrealism, violence, and misogyny. In the film, Isabella Rossellini’s character, Dorothy Vallens, is a singer who is helpless against Dennis Hopper’s character, Frank Booth, who is a psychopath that abuses her constantly. Both of these films portray a world of crime in which sociopaths like Booth and Alex cause harm to others. “It’s a strange world we live in,” says one character in the film. “Blue Velvet” is also in one way a coming of age story, when compared to the book version of “Clockwork Orange.” In the film, Kyle MacLachlan’s character, Jeffrey Beaumont, finds himself in the underworld of his seemingly pleasant hometown after discovering a human ear in a field. In the book of “Clockwork Orange,” it is backwards. The story ends by having Alex getting tired of doing violence and wanting to start a new life as a family man, unlike the movie where it ended precisely at the twentieth chapter when it is implied that Alex was cured and went back to doing violent acts. Anthony Burgess, the author, had written the book with twenty-one chapters since it is said to be the age of maturity. In my opinion, I do believe a young person could be grown into maturity after being rebellious, but I do not believe a person could mature after being mentally psychotic. Whatever the case, both of these works address the issues of crime and sociopaths really well.\r\n\r\nWhen the film was first released in 1971, it was a critical success. However, it was controversial upon its release. Audiences were shocked by the violence in the film, and were reacting in disgust to it. On top of that, people in England began imitating the crimes of Alex and his droogs. Kubrick and his family were receiving death threats for this outrage. He certainly never intended this to happen. In an effort to escape harm, he withdrew the film from British cinemas. Back then, it was incredibly rare for a director to have the kind of power that Kubrick had over all of his films. And the film would not see the light of day in England until after Kubrick’s death.\r\n\r\nToday, the film is considered a classic, though it is still considered controversial. Right now, most audiences are starting to get the message of the film and the dark humor. Like most of Kubrick’s films, people would not understand them, up until a few years pass when people would began to appreciate them. Not only that time heals wounds, but it would also change many opinions.\r\n\r\nIn my personal opinion, this movie was a very thrilling ride. I enjoyed the surreal atmosphere of London, and the dark humor that is presented in the form of characters such as Alex’s perverted probation officer, Mr. Deltoid, and the over-the-top Chief Officer Barnes. I especially love the themes of loss of choice and totalitarianism. I read and watch a lot of dystopian works of fiction; being fascinated by how they serve as a cautionary tale of not letting government have control over you, even if you are a deranged psychopath. The messages and strange images are what make this one of my favorite movies of all time.\r\n\r\nFuture generations should be aware of this film’s existence because of how it pushed the envelope in terms of violence and sex in film. But that should not overshadow the themes of moral choice, as people were at first shocked at the violence and did not get the point. Like I said before, this movie has an important message that seems to grow truer as time goes on, as did other similar Orwellian works. This also provided a good example of Kubrick’s technique in films; it has his distinguishing marks like most of other directors’ works. With a lot of issues at hand, I am sure that “A Clockwork Orange” would still continue to shock and fascinate people for years to come.\r\n<p style=\"text-align: center;\"><strong>Bibliography</strong></p>\r\nBurgess, Anthony. <em>A Clockwork Orange</em>.  1961.\r\n<blockquote>New York: 1986. Print.</blockquote>\r\n<em>Great Bolshy Yarblockos, Making “A Clockwork Orange.” </em>\r\n<blockquote>Prod. Warner Bros., 2007. DVD.</blockquote>\r\nDirks, Tim. “Film History of the 1970s.” <em>Filmsite</em>. 2011.\r\n<blockquote>21 November 2011.</blockquote>\r\n<em>Blue Velvet</em>. Prod. 1986. MGM, 2002.\r\n<blockquote>DVD.</blockquote>','A Clockwork Orange','','publish','open','open','','a-clockwork-orange','','','2011-11-22 11:13:04','2011-11-22 17:13:04','',0,'http://jeanatacc.com/2011/?p=2144',0,'post','',10),(2145,54,'2011-11-21 22:13:02','2011-11-22 04:13:02','','Clockwork Orange Poster','','inherit','open','open','','clockwork-orange-poster','','','2011-11-21 22:13:02','2011-11-22 04:13:02','',2144,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster.jpg',0,'attachment','image/jpeg',0),(2146,54,'2011-11-21 22:13:44','2011-11-22 04:13:44','','Clockwork Orange Poster','','inherit','open','open','','clockwork-orange-poster-2','','','2011-11-21 22:13:44','2011-11-22 04:13:44','',2144,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster1.jpg',0,'attachment','image/jpeg',0),(2147,54,'2011-11-21 22:14:28','2011-11-22 04:14:28','','Clockwork Orange Poster','','inherit','open','open','','clockwork-orange-poster-3','','','2011-11-21 22:14:28','2011-11-22 04:14:28','',2144,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster2.jpg',0,'attachment','image/jpeg',0),(2148,54,'2011-11-21 22:14:12','2011-11-22 04:14:12','&nbsp;\n<p align=\"center\"> </p>\n<p align=\"center\"><a href=\"http://upload.wikimedia.org/wikipedia/en/4/48/Clockwork_orangeA.jpg\">http://upload.wikimedia.org/wikipedia/en/4/48/Clockwork_orangeA.jpg</a></p>\n“A Clockwork Orange” (1971) is worthy of preservation for providing a surreal, yet thought-provoking, commentary on moral choice and crime. Based on the book by Anthony Burgess, this dystopian satire was directed by Stanley Kubrick and stars Malcolm McDowell in unquestionably his most famous role as Alex DeLarge.\n\n The story takes place in the not too distant future in London. Alex is a teenage hoodlum who goes around town with his four droogs, or friends, where they do “a bit of the old ultra-violence.” They fight other gangs, beat up homeless men, break into other people’s homes and commit rape to helpless women. After a break-in gone wrong, Alex is arrested and sentenced to fourteen years in prison. After two years, he is selected to be the test subject for an experimental technique that is supposed to “reform” criminals. Alex is injected with a serum, and forced to watch violent films where he slowly becomes more sick watching it to the point where every time he tries to do harm to people, nausea prevents him. Alex is then released back in society as a well-behaved citizen; though not by choice. But things eventually do not go to plan when he is left vulnerable to his victims, bent on revenge.\n\nBack in the 1970s, restrictions for sexuality and violence in film were being lifted. Instead, we were introduced to the MPAA ratings systems to show which audience is more suitable to a certain movie. Throughout this decade, Hollywood would break ground by giving us such violent films such as “Taxi Driver,” “Bonnie and Clyde,” “Dirty Harry,” and much more. “Clockwork Orange” was considered a very violent and very sexual movie, though the violence was more stylized than bloody. But it has extremely sexual overtones including nudity, rape, and a lot of phallic symbols. When it was first released, it received an X rating. Kubrick himself had to cut a few seconds to receive an R rating. A similar case would occur when Kubrick would cut a few seconds from his NC-17 rated final film, “Eyes Wide Shut,” to receive an R rating.\n\nMany of Kubrick’s trademarks are present in this film. Most of the background score consists of classical music, though in this case it’s mostly synthesized to give it a much more futuristic quality. Like most of Kubrick’s films, it doves deeper into the dehumanization of us all which it presented when Alex’s free will is taken away from him, making him into the titular “clockwork orange.” The book, as well as the movie, would introduce a new language by the author known as Nadsat. It is a combination of English slang, Russian words, and cockney rhymes. The film uses this new language, though it is not used very often as the director thought it would confuse audiences. The cinematography of the film also creates great point-of-view shots like when someone is on the floor, or in a corner, or even falling out of a window. Like I said, most of Kubrick’s films would push the envelope and the result would be either being something you love or hate.\n\nDavid Lynch’s “Blue Velvet” is another film that would fall into the same category as “Clockwork Orange” in terms of surrealism, violence, and misogyny. In the film, Isabella Rossellini’s character, Dorothy Vallens, is a singer who is helpless against Dennis Hopper’s character, Frank Booth, who is a psychopath that abuses her constantly. Both of these films portray a world of crime in which sociopaths like Booth and Alex cause harm to others. “It’s a strange world we live in,” says one character in the film. “Blue Velvet” is also in one way a coming of age story, when compared to the book version of “Clockwork Orange.” In the film, Kyle MacLachlan’s character, Jeffrey Beaumont, finds himself in the underworld of his seemingly pleasant hometown after discovering a human ear in a field. In the book of “Clockwork Orange,” it is backwards. The story ends by having Alex getting tired of doing violence and wanting to start a new life as a family man, unlike the movie where it ended precisely at the twentieth chapter when it is implied that Alex was cured and went back to doing violent acts. Anthony Burgess, the author, had written the book with twenty-one chapters since it is said to be the age of maturity. In my opinion, I do believe a young person could be grown into maturity after being rebellious, but I do not believe a person could mature after being mentally psychotic. Whatever the case, both of these works address the issues of crime and sociopaths really well.\n\nWhen the film was first released in 1971, it was a critical success. However, it was controversial upon its release. Audiences were shocked by the violence in the film, and were reacting in disgust to it. On top of that, people in England began imitating the crimes of Alex and his droogs. Kubrick and his family were receiving death threats for this outrage. He certainly never intended this to happen. In an effort to escape harm, he withdrew the film from British cinemas. Back then, it was incredibly rare for a director to have the kind of power that Kubrick had over all of his films. And the film would not see the light of day in England until after Kubrick’s death.\n\n Today, the film is considered a classic, though it is still considered controversial. Right now, most audiences are starting to get the message of the film and the dark humor. Like most of Kubrick’s films, people would not understand them, up until a few years pass when people would began to appreciate them. Not only that time heals wounds, but it would also change many opinions.\n\n In my personal opinion, this movie was a very thrilling ride. I enjoyed the surreal atmosphere of London, and the dark humor that is presented in the form of characters such as Alex’s perverted probation officer, Mr. Deltoid, and the over-the-top Chief Officer Barnes. I especially love the themes of loss of choice and totalitarianism. I read and watch a lot of dystopian works of fiction; being fascinated by how they serve as a cautionary tale of not letting government have control over you, even if you are a deranged psychopath. The messages and strange images are what make this one of my favorite movies of all time.\n\nFuture generations should be aware of this film’s existence because of how it pushed the envelope in terms of violence and sex in film. But that should not overshadow the themes of moral choice, as people were at first shocked at the violence and did not get the point. Like I said before, this movie has an important message that seems to grow truer as time goes on, as did other similar Orwellian works. This also provided a good example of Kubrick’s technique in films; it has his distinguishing marks like most of other directors’ works. With a lot of issues at hand, I am sure that “A Clockwork Orange” would still continue to shock and fascinate people for years to come.\n<p style=\"text-align: center\"><strong>Bibliography</strong></p>\nBurgess, Anthony. <em>A Clockwork Orange</em>.  1961. \n<blockquote>New York: 1986. Print.</blockquote>\n<em>Great Bolshy Yarblockos, Making “A Clockwork Orange.” </em>\n<blockquote>Prod. Warner Bros., 2007. DVD.</blockquote>\nDirks, Tim. “Film History of the 1970s.” <em>Filmsite</em>. 2011.\n<blockquote>21 November 2011.</blockquote>\n<em>Blue Velvet</em>. Prod. 1986. MGM, 2002.\n<blockquote>DVD.</blockquote>','A Clockwork Orange','','inherit','open','open','','2144-revision','','','2011-11-21 22:14:12','2011-11-22 04:14:12','',2144,'http://jeanatacc.com/2011/?p=2148',0,'revision','',0),(2149,54,'2011-11-21 22:15:12','2011-11-22 04:15:12','&nbsp;\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster2.jpg\"><img class=\"aligncenter size-full wp-image-2147\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster2.jpg\" alt=\"\" width=\"300\" height=\"452\" /></a> </p>\n<p align=\"center\"><a href=\"http://upload.wikimedia.org/wikipedia/en/4/48/Clockwork_orangeA.jpg\">http://upload.wikimedia.org/wikipedia/en/4/48/Clockwork_orangeA.jpg</a></p>\n“A Clockwork Orange” (1971) is worthy of preservation for providing a surreal, yet thought-provoking, commentary on moral choice and crime. Based on the book by Anthony Burgess, this dystopian satire was directed by Stanley Kubrick and stars Malcolm McDowell in unquestionably his most famous role as Alex DeLarge.\n\n The story takes place in the not too distant future in London. Alex is a teenage hoodlum who goes around town with his four droogs, or friends, where they do “a bit of the old ultra-violence.” They fight other gangs, beat up homeless men, break into other people’s homes and commit rape to helpless women. After a break-in gone wrong, Alex is arrested and sentenced to fourteen years in prison. After two years, he is selected to be the test subject for an experimental technique that is supposed to “reform” criminals. Alex is injected with a serum, and forced to watch violent films where he slowly becomes more sick watching it to the point where every time he tries to do harm to people, nausea prevents him. Alex is then released back in society as a well-behaved citizen; though not by choice. But things eventually do not go to plan when he is left vulnerable to his victims, bent on revenge.\n\nBack in the 1970s, restrictions for sexuality and violence in film were being lifted. Instead, we were introduced to the MPAA ratings systems to show which audience is more suitable to a certain movie. Throughout this decade, Hollywood would break ground by giving us such violent films such as “Taxi Driver,” “Bonnie and Clyde,” “Dirty Harry,” and much more. “Clockwork Orange” was considered a very violent and very sexual movie, though the violence was more stylized than bloody. But it has extremely sexual overtones including nudity, rape, and a lot of phallic symbols. When it was first released, it received an X rating. Kubrick himself had to cut a few seconds to receive an R rating. A similar case would occur when Kubrick would cut a few seconds from his NC-17 rated final film, “Eyes Wide Shut,” to receive an R rating.\n\nMany of Kubrick’s trademarks are present in this film. Most of the background score consists of classical music, though in this case it’s mostly synthesized to give it a much more futuristic quality. Like most of Kubrick’s films, it doves deeper into the dehumanization of us all which it presented when Alex’s free will is taken away from him, making him into the titular “clockwork orange.” The book, as well as the movie, would introduce a new language by the author known as Nadsat. It is a combination of English slang, Russian words, and cockney rhymes. The film uses this new language, though it is not used very often as the director thought it would confuse audiences. The cinematography of the film also creates great point-of-view shots like when someone is on the floor, or in a corner, or even falling out of a window. Like I said, most of Kubrick’s films would push the envelope and the result would be either being something you love or hate.\n\nDavid Lynch’s “Blue Velvet” is another film that would fall into the same category as “Clockwork Orange” in terms of surrealism, violence, and misogyny. In the film, Isabella Rossellini’s character, Dorothy Vallens, is a singer who is helpless against Dennis Hopper’s character, Frank Booth, who is a psychopath that abuses her constantly. Both of these films portray a world of crime in which sociopaths like Booth and Alex cause harm to others. “It’s a strange world we live in,” says one character in the film. “Blue Velvet” is also in one way a coming of age story, when compared to the book version of “Clockwork Orange.” In the film, Kyle MacLachlan’s character, Jeffrey Beaumont, finds himself in the underworld of his seemingly pleasant hometown after discovering a human ear in a field. In the book of “Clockwork Orange,” it is backwards. The story ends by having Alex getting tired of doing violence and wanting to start a new life as a family man, unlike the movie where it ended precisely at the twentieth chapter when it is implied that Alex was cured and went back to doing violent acts. Anthony Burgess, the author, had written the book with twenty-one chapters since it is said to be the age of maturity. In my opinion, I do believe a young person could be grown into maturity after being rebellious, but I do not believe a person could mature after being mentally psychotic. Whatever the case, both of these works address the issues of crime and sociopaths really well.\n\nWhen the film was first released in 1971, it was a critical success. However, it was controversial upon its release. Audiences were shocked by the violence in the film, and were reacting in disgust to it. On top of that, people in England began imitating the crimes of Alex and his droogs. Kubrick and his family were receiving death threats for this outrage. He certainly never intended this to happen. In an effort to escape harm, he withdrew the film from British cinemas. Back then, it was incredibly rare for a director to have the kind of power that Kubrick had over all of his films. And the film would not see the light of day in England until after Kubrick’s death.\n\n Today, the film is considered a classic, though it is still considered controversial. Right now, most audiences are starting to get the message of the film and the dark humor. Like most of Kubrick’s films, people would not understand them, up until a few years pass when people would began to appreciate them. Not only that time heals wounds, but it would also change many opinions.\n\n In my personal opinion, this movie was a very thrilling ride. I enjoyed the surreal atmosphere of London, and the dark humor that is presented in the form of characters such as Alex’s perverted probation officer, Mr. Deltoid, and the over-the-top Chief Officer Barnes. I especially love the themes of loss of choice and totalitarianism. I read and watch a lot of dystopian works of fiction; being fascinated by how they serve as a cautionary tale of not letting government have control over you, even if you are a deranged psychopath. The messages and strange images are what make this one of my favorite movies of all time.\n\nFuture generations should be aware of this film’s existence because of how it pushed the envelope in terms of violence and sex in film. But that should not overshadow the themes of moral choice, as people were at first shocked at the violence and did not get the point. Like I said before, this movie has an important message that seems to grow truer as time goes on, as did other similar Orwellian works. This also provided a good example of Kubrick’s technique in films; it has his distinguishing marks like most of other directors’ works. With a lot of issues at hand, I am sure that “A Clockwork Orange” would still continue to shock and fascinate people for years to come.\n<p style=\"text-align: center\"><strong>Bibliography</strong></p>\nBurgess, Anthony. <em>A Clockwork Orange</em>.  1961. \n<blockquote>New York: 1986. Print.</blockquote>\n<em>Great Bolshy Yarblockos, Making “A Clockwork Orange.” </em>\n<blockquote>Prod. Warner Bros., 2007. DVD.</blockquote>\nDirks, Tim. “Film History of the 1970s.” <em>Filmsite</em>. 2011.\n<blockquote>21 November 2011.</blockquote>\n<em>Blue Velvet</em>. Prod. 1986. MGM, 2002.\n<blockquote>DVD.</blockquote>','A Clockwork Orange','','inherit','open','open','','2144-revision-2','','','2011-11-21 22:15:12','2011-11-22 04:15:12','',2144,'http://jeanatacc.com/2011/?p=2149',0,'revision','',0),(2150,1,'2011-11-21 22:15:26','2011-11-22 04:15:26','&nbsp;\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster2.jpg\"><img class=\"aligncenter size-full wp-image-2147\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/Clockwork-Orange-Poster2.jpg\" alt=\"\" width=\"300\" height=\"452\" /></a> </p>\r\n<p align=\"center\"><a href=\"http://upload.wikimedia.org/wikipedia/en/4/48/Clockwork_orangeA.jpg\">http://upload.wikimedia.org/wikipedia/en/4/48/Clockwork_orangeA.jpg</a></p>\r\n“A Clockwork Orange” (1971) is worthy of preservation for providing a surreal, yet thought-provoking, commentary on moral choice and crime. Based on the book by Anthony Burgess, this dystopian satire was directed by Stanley Kubrick and stars Malcolm McDowell in unquestionably his most famous role as Alex DeLarge.\r\n\r\n The story takes place in the not too distant future in London. Alex is a teenage hoodlum who goes around town with his four droogs, or friends, where they do “a bit of the old ultra-violence.” They fight other gangs, beat up homeless men, break into other people’s homes and commit rape to helpless women. After a break-in gone wrong, Alex is arrested and sentenced to fourteen years in prison. After two years, he is selected to be the test subject for an experimental technique that is supposed to “reform” criminals. Alex is injected with a serum, and forced to watch violent films where he slowly becomes more sick watching it to the point where every time he tries to do harm to people, nausea prevents him. Alex is then released back in society as a well-behaved citizen; though not by choice. But things eventually do not go to plan when he is left vulnerable to his victims, bent on revenge.\r\n\r\nBack in the 1970s, restrictions for sexuality and violence in film were being lifted. Instead, we were introduced to the MPAA ratings systems to show which audience is more suitable to a certain movie. Throughout this decade, Hollywood would break ground by giving us such violent films such as “Taxi Driver,” “Bonnie and Clyde,” “Dirty Harry,” and much more. “Clockwork Orange” was considered a very violent and very sexual movie, though the violence was more stylized than bloody. But it has extremely sexual overtones including nudity, rape, and a lot of phallic symbols. When it was first released, it received an X rating. Kubrick himself had to cut a few seconds to receive an R rating. A similar case would occur when Kubrick would cut a few seconds from his NC-17 rated final film, “Eyes Wide Shut,” to receive an R rating.\r\n\r\nMany of Kubrick’s trademarks are present in this film. Most of the background score consists of classical music, though in this case it’s mostly synthesized to give it a much more futuristic quality. Like most of Kubrick’s films, it doves deeper into the dehumanization of us all which it presented when Alex’s free will is taken away from him, making him into the titular “clockwork orange.” The book, as well as the movie, would introduce a new language by the author known as Nadsat. It is a combination of English slang, Russian words, and cockney rhymes. The film uses this new language, though it is not used very often as the director thought it would confuse audiences. The cinematography of the film also creates great point-of-view shots like when someone is on the floor, or in a corner, or even falling out of a window. Like I said, most of Kubrick’s films would push the envelope and the result would be either being something you love or hate.\r\n\r\nDavid Lynch’s “Blue Velvet” is another film that would fall into the same category as “Clockwork Orange” in terms of surrealism, violence, and misogyny. In the film, Isabella Rossellini’s character, Dorothy Vallens, is a singer who is helpless against Dennis Hopper’s character, Frank Booth, who is a psychopath that abuses her constantly. Both of these films portray a world of crime in which sociopaths like Booth and Alex cause harm to others. “It’s a strange world we live in,” says one character in the film. “Blue Velvet” is also in one way a coming of age story, when compared to the book version of “Clockwork Orange.” In the film, Kyle MacLachlan’s character, Jeffrey Beaumont, finds himself in the underworld of his seemingly pleasant hometown after discovering a human ear in a field. In the book of “Clockwork Orange,” it is backwards. The story ends by having Alex getting tired of doing violence and wanting to start a new life as a family man, unlike the movie where it ended precisely at the twentieth chapter when it is implied that Alex was cured and went back to doing violent acts. Anthony Burgess, the author, had written the book with twenty-one chapters since it is said to be the age of maturity. In my opinion, I do believe a young person could be grown into maturity after being rebellious, but I do not believe a person could mature after being mentally psychotic. Whatever the case, both of these works address the issues of crime and sociopaths really well.\r\n\r\nWhen the film was first released in 1971, it was a critical success. However, it was controversial upon its release. Audiences were shocked by the violence in the film, and were reacting in disgust to it. On top of that, people in England began imitating the crimes of Alex and his droogs. Kubrick and his family were receiving death threats for this outrage. He certainly never intended this to happen. In an effort to escape harm, he withdrew the film from British cinemas. Back then, it was incredibly rare for a director to have the kind of power that Kubrick had over all of his films. And the film would not see the light of day in England until after Kubrick’s death.\r\n\r\n Today, the film is considered a classic, though it is still considered controversial. Right now, most audiences are starting to get the message of the film and the dark humor. Like most of Kubrick’s films, people would not understand them, up until a few years pass when people would began to appreciate them. Not only that time heals wounds, but it would also change many opinions.\r\n\r\n In my personal opinion, this movie was a very thrilling ride. I enjoyed the surreal atmosphere of London, and the dark humor that is presented in the form of characters such as Alex’s perverted probation officer, Mr. Deltoid, and the over-the-top Chief Officer Barnes. I especially love the themes of loss of choice and totalitarianism. I read and watch a lot of dystopian works of fiction; being fascinated by how they serve as a cautionary tale of not letting government have control over you, even if you are a deranged psychopath. The messages and strange images are what make this one of my favorite movies of all time.\r\n\r\nFuture generations should be aware of this film’s existence because of how it pushed the envelope in terms of violence and sex in film. But that should not overshadow the themes of moral choice, as people were at first shocked at the violence and did not get the point. Like I said before, this movie has an important message that seems to grow truer as time goes on, as did other similar Orwellian works. This also provided a good example of Kubrick’s technique in films; it has his distinguishing marks like most of other directors’ works. With a lot of issues at hand, I am sure that “A Clockwork Orange” would still continue to shock and fascinate people for years to come.\r\n<p style=\"text-align: center\"><strong>Bibliography</strong></p>\r\nBurgess, Anthony. <em>A Clockwork Orange</em>.  1961. \r\n<blockquote>New York: 1986. Print.</blockquote>\r\n<em>Great Bolshy Yarblockos, Making “A Clockwork Orange.” </em>\r\n<blockquote>Prod. Warner Bros., 2007. DVD.</blockquote>\r\nDirks, Tim. “Film History of the 1970s.” <em>Filmsite</em>. 2011.\r\n<blockquote>21 November 2011.</blockquote>\r\n<em>Blue Velvet</em>. Prod. 1986. MGM, 2002.\r\n<blockquote>DVD.</blockquote>','A Clockwork Orange','','inherit','open','open','','2144-revision-3','','','2011-11-21 22:15:26','2011-11-22 04:15:26','',2144,'http://jeanatacc.com/2011/?p=2150',0,'revision','',0),(2151,1,'2011-11-21 21:59:50','2011-11-22 03:59:50','<strong>Sometimes photographs tell the wrong story...</strong>\r\n\r\n[caption id=\"attachment_2137\" align=\"alignright\" width=\"230\" caption=\"Dorthea Lange&#039;s &quot;Migrant Mother.&quot; Source: http://www.loc.gov/rr/print/list/128_migm.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1.jpg\"><img class=\"size-medium wp-image-2137\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/migrant-mother1-230x300.jpg\" alt=\"\" width=\"230\" height=\"300\" /></a>[/caption]\r\n\r\n<strong>\r\n</strong>\r\n\r\nDorothea Lange (1895 – 1965) was an influential American documentary photojournalist and photographer that was well-known for her work for the Farm Security Administration, during and after the Great Depression. Lange snapped her most renowned photograph, “Migrant Mother,” in March of 1936, while she was in Nipomo, California, a rural town 175 miles from Los Angeles. This iconic photograph requires preservation because it is an example of how a single photograph brings about lasting social and political change, regardless of whether the story behind the image is true.\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\nThe famed photograph was part of five shots taken on that cold and damp day along the edges of a pea field in California [Street]. Lange was a famous portrait photographer and had owned a successful photography business. She was fortunate to live rather comfortably doing what she loved. Well, rather comfortably until the collapse of the New York Stock Exchange in 1929 when it became impossible for most people to afford to have professional portraits taken [Street].\r\n\r\nThe Great Depression affected her financially and emotionally, on a deep level. She took her camera from her comfortable studio to the street, or to the fields, in this case. Her task was to preserve the social and historical ramifications of the Great Depression [Becker-Ohrn].  She set out to photograph that segment of the population hit the hardest by the economic crisis. She trekked deep in to the farmlands of California, carrying her camera, numerous canisters of black and white film and a talent for blending in with the environment. Her mission was to capture the human condition at its most natural, vulnerable, raw and unaware[Becker-Ohrn]. “Migrant Mother” is a perfect example Lange’s ability to capture emotion and desperation in a black and white image. She chose her subjects for their realistic quality and for their ability to tell a story without words [Golden]. These were often worn-out, disappointed, bewildered and beleaguered faces. She specialized in displaying their sullen and desolate lives [Golden]. Her photos showed the plight of our country’s largest segment of people and she was just doing her job [Meltzer]. Or, was she? Could the motive have been about something different?\r\n\r\nIn 1936, U.S. President, Franklin D. Roosevelt had won re-election by a landslide, even though the Great Depression was in its eighth year. Roosevelt had instituted several programs that were favored by the American people, including the Social Security Act and unemployment benefits [Becker-Ohrn]. His goal was to consolidate the economy and focus on agriculture and industry. One of the outcomes of this giant push toward relief for the U.S. citizenry was a state-controlled relief program called The Historical Section of the Resettlement Administration. The name changed to the \"Farm Security Administration\" (FSA) in 1937 [Becker-Ohrn]. Roosevelt appointed Ron Stryker to head the organization and gave him the task of documenting the disastrous living conditions in agricultural areas among rural America. Many famous photographers worked for Stryker, including Lange (who joined his group in 1935). In total, the FSA produced about 170,000 negatives and 70,000 original prints to document the era. Today, much of what we know about the Great Depression is based on the FSA photographs [Becker-Ohrn].\r\n\r\nAfter working for Stryker for a year or two, Lange began to realize that strong political ambitions were surrounding the FSA and that these ambitions had to do with the \"New Deal,\" proposed by President Roosevelt [Shindo]. Lange began to see that the FSA was exploiting the privacy of the poor and unfortunate in an effort to propagandize the New Deal. The details here are a bit foggy, perhaps purposefully so, but Lange and her husband saw this situation as an opportunity to further their own interests [Street].\r\n\r\nLange married Paul Schuster Taylor, Professor of Economics at the University of California, Berkeley, in 1935. Taylor was a left-wing labor economist and the blatant propaganda created by his wife\'s photos placed him in good favor with certain political camps [Meltzer]. Some say that his connection to the Roosevelt administration was unusually close and that he benefited immensely (in a financial and professional sense) from the photos. After they married, Taylor groomed Lange politically and educated her in the areas of social and political protocol. As a team, they spent five years documenting extreme poverty and the blatant exploitation of migrant workers and sharecroppers. Primarily, Lange took the photographs as documentation of their claims and Taylor assembled economic, demographic and migratory data that was used for reporting to the Roosevelt Administration [Meltzer].\r\n\r\nRoosevelt implemented a propaganda machine that cranked out all sorts of information. The news media was in its infancy in the mid-1930s. There were no 24-hour news broadcasts and what information was relayed to the country was relayed on purpose. In fact, Lange\'s FSA photographs were not the only means of getting the word out about the amazing benefits of the New Deal. Lange\'s black and white \"Migrant Mother\" has the same look and feel of the painting (commissioned by Stryker) that was turned in to a Resettlement Administration poster by Bernarda Bryson Shahn.\r\n\r\n[caption id=\"attachment_2139\" align=\"alignleft\" width=\"196\" caption=\"Shahn&#039;s &quot;A Mule and a Plow&quot; Source: : http://www.michenermuseum.org/exhibits/bryson.php\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn.jpg\"><img class=\"size-medium wp-image-2139\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/shahn-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a>[/caption]\r\n\r\nShahn painted a disheveled and exhausted, ethnic (non-white) man dressed in threadbare and dusty clothing, leaning on a dilapidated fence in front of a ramshackle farmhouse, just next to his noticeably weak mule. The only text on this painting is, \"A Mule and a Plow. Resettlement Administration. Small Loans Give Farmers a New Start.\" This painting was commissioned by Stryker to tell a political story. Stryker could request that the content be about anything so he chose to create a mood with which middle-class America could identify. The text chosen was no coincidence and the words \"New Start\" were used for a specific reason [Fox]. Both Lange and Shahn\'s work depict the down-trodden, dissatisfied and deflated people that the New Deal was supposed to be helping. Both works showed just how bad it could be for middle-class America. The similarities are almost endless, including the clothing, colors, forlorn facial expressions, farm setting, and general feel of desperation. Basically, all one would need to do would be to place the same text on Lange\'s photograph and the exact same message would come across.\r\n\r\nLange\'s image is a black and white photograph of a real, live mother \"of seven children\" and she is desperate to provide a better life for her children [Golden]. Shahn\'s painting is nearly all black and white (even though a plethora of color paints were available at the time) and shows a man who is obviously disappointed that he cannot provide better for his family. Both images show how deeply the economic crisis is and how hopeless it seems to both men and women. More importantly, both images were purposefully used to illustrate how bad the living conditions were and this opened the door to the discussion of the benefits of the New Deal. Much of the artwork during that time was depressing and showed the immense suffering of our people. These two examples just happened to be among the many that were used to further political agendas.\r\n\r\nOut of the five photographs taken that day in Nipomo, \"Migrant Mother\" became the most well-known. The reason could be the composition of the photo, the way the light falls on the mother\'s face, the fact that three bashful or ashamed children are shown in the frame, the amount of tent showing along the edges of the frame, or any number of things. The predominant fact is that this was one of the first photographs that was used for political propaganda and it set the definition of the word \"documentary\" to this type of image. This was not a pretty image. It was not a lush landscape with waterfalls, weeping willow trees and a family of rabbits in a picturesque meadow. This was unrefined and organic. The raw image exposed the dark underbelly of our land and its people during the Great Depression. The United States was the Golden Child of the World and in the wake of the Great Depression, the true depiction of our country was coming out for all to see. Lange\'s photograph was innovative because it did not sugarcoat anything about what our people were going through during those hopeless financial times. Regardless if whether it was used to further a political agenda or not, it was a real-life image of a real family and it created an impact that we still talk about today.\r\n\r\nWhen Lange contacted an editor at a San Francisco newspaper, after developing the string of five images she took that day, the editor informed some federal authorities and subsequently published an article featuring two of Lange\'s photos. As a direct result of the article and the call to the authorities, a load of food (20,000 pounds) was delivered to the camp where Lange shot the photographs. The impact of this photo would become even greater when author, John Steinbeck used the details of the article and photo to create the fictional story behind his famed novel, \"The Grapes of Wrath\" [Shindo].\r\n\r\nToday, Lange\'s image of the woman, named Florence Owen Thompson (1903-1983), known as the Migrant Mother, has been reprinted more than a million times. The image of this mother of seven has appeared on U.S. stamps, t-shirts, Mother\'s Day cards, books, posters, and many other venues. The face of Ms. Thompson has become known as the face of the New Deal. She represented the group of New Deal loyalists that wanted to focus the light on the depraved capitalist system against which President Roosevelt was so adamantly fighting. They were successful and this image is well-known because it created a certain emotional feel that reminds us all of how bad our lives <em>could be</em>. The New Deal was a social program that was sold to the America based on propaganda and emotion. It created some amazing programs that are still in existence today and benefits for Americans. I agree with the premise and tenets of the New Deal. However, I do not believe that the emotional feel created by this photo was reality. But then again, photos are very rarely true reality.\r\n\r\nPersonally, I find that the image is a striking reminder that what we see is not always what we get, or what is true reality. The true facts behind the photo were hidden and covered up for decades. For instance, after many years passed and many interviews were conducted, the discovery was made that Ms. Thompson was not a sharecropper. Nor was she a migrant farm worker. Neither was her husband. She was not a single mother with seven children and she had not sold her tent and car for food. She had not been living off birds that her children had killed and she has not even a pea picker[Shindo].\r\n\r\nUpon further investigation, it was determined that Ms. Thompson was simply sitting along the side of the road with three children, waiting for her husband and sons to return from town. Soon after Lange left the scene where the infamous photo was taken, Thompson\'s husband returned with a fixed radiator, installed it, started the car and drove to the next town to start\r\n\r\nworking. Most significant of all, Ms. Thompson and her family never received a single bite of the food that was delivered to the camp in the week following the published article. In fact, Ms. Thompson had been living in California for ten years, in her own house, and her husband had been working in mills for years [Shindo].\r\n\r\nToday, we live in the age of technology. We have video tape, editing software, and lightening fast delivery of the \"facts.\" The biggest lesson to take away from these amazing photographs is that it is always best to be skeptical of everything you hear and see. Take the time to investigate, to question and to determine your own impressions and feelings about life events. That advice is especially true regarding all things political. Just because the New Deal sought to better the lives of the middle-class, it was not okay to use falsities to create a platform for their agenda. Preserve this image forever to remind us all that life is fragile and we must research the facts and make our own decisions about what to believe.\r\n\r\n&nbsp;\r\n\r\n<strong>Works Cited:</strong>\r\n\r\n<strong>Becker-Ohrn</strong>, Karin.  <em>Dorthea Lange: The Documentary Tradition</em>.  Baton Rouge: Lousians State University Press, 1980. This is a college-level textbook that I used to research President Roosevelt, The New Deal, and the political propagandists that were prevalent in 1936. I also researched Farm Settlement Administration fieldwork and the number of images and negatives taken by Stryker\'s photographers.\r\n\r\n<strong>Fiero</strong>, Gloria. <em>The Humanist Tradition</em>, Volume Two, Chapter 34, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed November 11-13,2011. This is a college-level course textbook that I used to learn about how Dorthea Lange\'s work left a documentary record of rural poverty and oppression during the Great Depression.\r\n\r\n<strong>Fox</strong>, Margalit. <em>Bernarda Bryson Shahn, Painter, Dies at 101</em>.  Published December 16, 2004.  Accessed: November 10, 2011. I used this page to research painter Shahn. &lt;http://www.nytimes.com/2004/12/16/arts/16shahn.html&gt;.\r\n\r\n<strong>Golden</strong>, Reuel.  <em>Photo-journalism: 1855 to the present</em>.  New York: Abbeville Press, 2005. This is a compilation of biographies of prominent documentary photographers that I used to research Lange\'s style of photography and the subject matter she was known for capturing.\r\n\r\n<strong>Meltzer</strong>, Milton.  <em>Dorthea Lange: A Photographer\'s Life</em>.  Syracuse: Syracuse University Press, 2000. This is a Biography that I used to research Lange\'s marriage to Paul Taylor and how he instigated change in Lange\'s work. I also researched Lange\'s photographic style in general.\r\n\r\n<strong>Shindo</strong>, Charles.  <em>Dust Bowl Migrants in the American Imagination</em>.  Lawrence: University Press of Kansas, 1997. This is a college-level textbook that I used to research the \"Migrant Mother\" image and how its popularity lead to furthering the agendas of Lange and author John Steinbeck.\r\n\r\n<strong>Street</strong>, Richard Steven. <em>Photographing Farmworkers in California</em>.  Stanford: Stanford University Press, 2004. This is a photographic documentary of Migrant farm workers in California as seen through the eyes of numerous photographers. I used this book to research the work on Lange as it relates to whether the story behind the \"Migrant Mother\" image was true.\r\n<p style=\"text-align: left\" align=\"center\">Thank you for reading my essay!</p>\r\n<p style=\"text-align: left\" align=\"center\"><strong>Happy Thanksgiving!</strong></p>','Real Life or Propaganda?','','inherit','open','open','','2135-revision-5','','','2011-11-21 21:59:50','2011-11-22 03:59:50','',2135,'http://jeanatacc.com/2011/?p=2151',0,'revision','',0),(2152,1,'2011-11-21 19:03:21','2011-11-22 01:03:21','<div class=\"mceTemp mceIEcenter\">\r\n<div class=\"mceTemp mceIEcenter\">\r\n\r\n[caption id=\"attachment_2114\" align=\"aligncenter\" width=\"193\" caption=\"A promotional poster for the movie found at: http://www.mash4077tv.com/category/mash-the-movie/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/mash_ad_1970.jpg\"><img class=\"size-medium wp-image-2114\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/mash_ad_1970-193x300.jpg\" alt=\"Promotional Poster for M*A*S*H\" width=\"193\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n<p dir=\"LTR\" align=\"CENTER\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"CENTER\">Here is the theme song for M*A*S*H. \"Suicide Is Painless\", by Johnny Mandel. It was used as an instrumental at the beginning of the movie and then sung with the words to a guitar accompaniment in this scene. \"Jawbreaker\" is unable to have sex with a gorgeous nurse and decides that it is probably because he has always been gay. He believes his life will be too hard if he has to live it as a gay man and decides to commit suicide. The three star surgeons of the movie intervene at the chaplain’s request and stage a fake suicide for him by giving him a \"Last Supper\" and the \"Black Pill\".  To hear the entire song and see a portion of the scene, go to the link below.  The entire clip is less than 3 minutes.</p>\r\n<a href=\"http://www.youtube.com/watch?v=BVUXPjFWfX4\">http://www.youtube.com/watch?v=BVUXPjFWfX4</a>\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H has three important lessons that it is imperative that we preserve for the future. The first is that humor is a formidable weapon. The second is that all of us have the free will and responsibility to question authority. Third, \"there are no victors in war, only victims\" (Fiero, 418). Throughout the film, images of the real life results of war and the way that a M*A*S*H unit during the Korean war deals with the fallout are juxtaposed. No matter  where human beings go, we carry the potential for violence. Our people, generation after generation need to learn and remember that they cannot be sheep in the play of life. They must always use humor and compassion to question authority and to reach a consensus among themselves. They must never forget the results of war.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was originally a book written by Richard Hooker about his real-life experiences as a surgeon during the Korean War. It was entitled \"MASH: A Novel About Three Army Doctors\". During the Korean War, surgeons and medical personnel were in short supply, so they were drafted into the United States Army to serve overseas. Some of them ended up in Mobile Army Surgical Hospitals (M.A.S.H. for short). Typically, these units set up in tents and removable buildings within three to five miles of the front lines.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Ring Lardner read the book and was inspired to write the screenplay. \"Fifteen Hollywood directors turned down making it (a movie) because, they felt that the screenplay lacked the necessary coherence to give the movie a clear and strong narrative momentum\" (Monaco, 197-198). Stanley Kubrick was among the directors who rejected it (Gilby, 122). Robert Altman read the script, loved it and elected to direct it for Twentieth Century Fox. M*A*S*H was released to the public in 1970.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The movie starred Donald Sutherland as \"Hawkeye\", Elliott Gould as \"Trapper John\" and Tom Skerritt as Duke. These three young and rather inexperienced new faces, at the time, played the drafted surgeons who were the main characters in the movie. The story follows them through short vignettes of serious surgery followed by short scenes of the way they try to maintain their sanity in an insane situation called war. One short section of the film may highlight the surgeons hands inside the chest cavity of a wounded soldier. The next scene might be the set-up of \"Hot Lips\" Houlihan, played by Sally Kellerman, to settle a bet between the surgeons. They want to find out if \"Hot Lips\" is a natural blond. At all times, the film highlights the dysfunction of the army and the rebellious behavior of the young doctors who know they are above reprimand because they are too valuable for the army to discipline. Even though the doctors act in sacrilegious and disrespectful ways, they maintain their respect for human life. Their medical oaths are taken seriously for everyone, no matter which side of the conflict they come from. Scenes of silliness and hilarity are interrupted by incoming helicopters bearing the wounded.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"By the 1960’s, the events of a war in the jungles of Vietnam were being relayed via electronic satellite in American living rooms.\" \"In 1969, in a live telecast, the world saw the first astronauts walk on the surface of the moon\" (Fiero, 479). In South Africa, Christian Barnard performed the first heart-transplant surgery in 1967. But, despite the technological advances of the Information Age and the hopes they engendered, the mood in the United States was gloomy. \"Named the \"Me Decade\" by journalist Tom Wolfe in 1976, the 1970’s were seen as a time of growing individuality and diminished civic engagement.\" \"Economically, politically, and socially, the decade was marked by growing cynicism and uncertainty as Americans questioned the integrity of their political leaders and institutions\" (Batchelor). The economy was slowing down, unemployment was increasing and all around were people, young people in particular, who were growing more disillusioned and dissatisfied with the role the United States was playing in Vietnam. Protests, spearheaded by students who didn’t believe in the \"civil action\" but, could be drafted to fight and die at any time, bloomed on college campuses nationwide.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">This climate of disillusionment and cynicism propagated a form of writing that grew popular in the 1960’s and 70’s. Satire and sarcasm were used to make fun of institutions and individuals. \"Gallows humor evoked laughter at what was hideous and awful\" (Fiero, 418). Much of the fiction of the time focused on the depersonalization of the individual and the ability of humans to destroy each other. \"Catch 22\", a book written by Joseph Heller (1923-1999) in 1955, was one of the first of this genre. In it, \"Heller describes \"the humbug hypocrisy, cruelty and sheer stupidity of our mass society\" (Fiero, 418). Out of this tradition comes the movie M*A*S*H.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H, as directed by Robert Altman, was produced with the same philosophy that Heller used fifteen years earlier in his book. As the characters in M*A*S*H \"try to preserve their identity and their sanity, they became the enemies of the very authorities that sent them to war\". (Fiero, 419) \"Altman was known at the time, in the industry, as a brash and loud-mouthed liberal who voiced a strong contempt for authority\" (Monaco, 198).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">As heard in an interview with Altman and others, (included in the Collectors Edition of M*A*S*H in 2005), Altman made the movie a deliberate protest against the \"war in Vietnam and war in general\". (Fiero, 495) Altman and the people that helped him film the movie, lived in fear that Twentieth Century Fox would find out what they were really doing and shut them down. Twentieth Century believed that it was a war movie that had some laughs in it. Altman hid all references to Korea in the film. In one scene, that visits a supposed village in Korea, Altman has extras wearing the conical hats that are worn in Vietnam and not in Korea.  (M*A*S*H: Collectors Edition, 2) Altman produced M*A*S*H as an anti-war film.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The art of film-making is constantly evolving. 1970 was no different in this respect. Altman’s contribution to the world of movies is called \"overlaid\" sound. At the opening of the movie are two lines of overlapping dialogue spoken at the same time. During the movie, background noises and conversations overlap, birds singing and jets flying over are audible. The camp loud-speaker may be heard to announce that a movie will be shown that evening or blare Japanese takeoffs on American swing music while the main character is speaking. The colonel and Radar often speak the same lines at nearly the same time.  Radar always speaks just ahead of the colonel This underscores the confusion about who is really in charge. Altman’s innovation produced a more true to life experience and helped emphasize the points he wanted to make. Hearing ten different conversations in the surgery, while young soldiers hang between life and death on tables and surgeions hands work to save them, adds to the chaos and confusion. Hearing a jet fly over, during an otherwise silly conversation, reminds the viewer of where the speakers are and the seriousness of why they are there. Those jets are carrying bombs. People are going to die.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was filmed near Santa Monica, California. Altman hired a cast of improvisational actors he found performing at a nearby theatre to play the extras in his movie. They were encouraged to make conversation as their characters might if it were in a real situation. Altman allowed the actors to improvise on the spot. Ring Larder, Jr. was heard more that once, yelling at Altman because, Altman wasn’t following Lardner’s script. Altman \"used long lenses, slow zooms and tiny microphones to ambush his performers  -  to catch them accidentally being natural\" (Gilby 123).</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H was an instant success when it hit movie theaters in 1970. \"That M*A*S*H was\" Altman’s \"breakthrough movie had as much to do with synchronicity as quality.\" (Gilby, 122) The time was ripe for a movie that Fiero wrote was a \"biting satire on war in general\" and classified it with others in a genre she called \"Social Conscience\" films. (Fiero, 495) M*A*S*H was a nominee at the Oscars for best picture and best film editing in 1971. Ring Lardner, Jr. won an Oscar for best screen writing. \"A popular television series, part comedy and part drama, also named M*A*S*H, spun off from the film\" (Roman) and ran from 1972 until 1984; twelve years.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">I saw the movie, in a theater, in 1970. I was a high school student in my Junior year. I had read Time magazine and seen the news. I knew about the protests against the war. Everywhere were signs that the Information Age was having a profound effect on our society and way of life. When I came out of that movie I was beyond words. The amount of blood, the broken bodies of young men, the sexual freedom and independence of the nurses, the complete disregard for army authority and the constant chaos of helicopters, loud-speakers and over-lapping conversations shocked me. I was forever changed by the depictions of a surgical arena filled with surgeons and their patients, the shortages of medical supplies, and the honest caring of the doctors for those who came to be on their tables. James Roman wrote it for me in his article entitled M*A*S*H. \"War is never pretty and its visual imagery is fraught with controversy and concern. Altman (bathed) his satire within the context of humor, which makes an even more profound statement on the destructiveness of these ritualistic moral constructs. It (M*A*S*H) is a timeless portrait of disdain for the ineptness of leadership and the costs endured.\" I could not have said that, at the time but, I did know it on some level when I came out of that theater back in 1970. In vivid, bloody color, Altman’s humor had taught me what my life experience hadn’t gotten to yet.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In 1931 Charles Chaplin (1889-1977) took a tour around the world. He visited many countries including Germany. He became very concerned with what he saw. He said he wrote \"The Great Dictator\" (1940) because, he couldn’t write anything else at the time.  He said, \"And now another war was brewing and I was trying to write a story for Paulette (Paulette Goddard, a popular young actress of the time and also an ex-wife of Chaplin’s) but, I could make no progress. How could I throw myself into feminine whimsy or think of romance...when madness was being stirred up by a hideous, grotesque, Adolph Hitler\" He later wrote that \"Had I known of the actual horrors of the German concentration camps, I could not have made \"The Great Dictator\"; I could not have made fun of the homicidal insanity of the Nazis.\" (Vance, 236)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The United States’ attitude, during the 1930’s was one of conciliation and appeasement. Hollywood was afraid of insulting the Germans, because they didn’t want to lose the German market. Maybe, Chaplin made the movie as a reaction to a piece of German propaganda that reached him. The propaganda called him a Jew and a bore. Chaplin proceeded to write, direct and star in \"The Great Dictator\"  despite Hollywood’s reticence.\"The Great Dictator\" is a tale of two worlds: the palace, where the dictator rules, and the ghetto, where the Jewish barber lives.\" \"The comedic device in the film is the resemblance between the dictator and the barber.\"  People had noticed Chaplin’s likeness to Hitler for a long time. It was rumored that Hitler adopted Chaplin’s mustache because of Chaplin’s well loved character in \"The Tramp\". Giant X’s replace the swastikas and Chaplin’s character’s name was Adenoid Hynkel, dictator of Tomania. \"The theme of the story, at its basic level was the struggle between good and evil\" (Vance, 240)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Both M*A*S*H and \"The Great Dictator\" are meant to be pointed jabs at wars and the human machinery that cause wars. \"The Great Dictator\" was made before the United States got involved with WWII. M*A*S*H was made while the U.S. was embroiled in conflicts in Vietnam. While Chaplin directly satirized Hitler and his cohorts. Altman chose quips and keystone cop-like antics to make fun of the \"brass\". Charlie Chaplin’s story is about good and evil and portrays Hynkel as idiotic and evil. Altman’s movie chooses a broader brush and paints with a lot of gray the various personalities that are found on any army base. While Chaplin gives Hitler a direct hit, Altman skirts around issues and gives glimpses of his opinions by using only the visual shots of the surgery itself to bring his points home. One of the memorable lines from \"The Great Dictator\" is, \"life would be wonderful if people would leave you alone\". In M*A*S*H, \"Hot Lips\" Houlihan asks how such a disrespectful and unmilitary man could be promoted to Head Surgeon. A corpsman on the side is heard to say, \"He was drafted.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Chaplin made his opinions known by choosing actors who closely resembled Hitler’s top aides and then naming them Herring and Garbitsch. (Vance, 240) Chaplin took whatever information he had about Hitler and then exagerated it so that it was a close approximation to the reality, but twisted it and misnamed it, to expose it to ridicule. Altman chose scenes of blood and gore, men moaning and crying out, overlaid by a the loud-speaker announcing that \"marijuana is a dangerous drug.\" Chaplin’s humor was up front and in your face. It was typical of the era. People didn’t quite know yet how to watch a movie and they were treated that way. Altman’s films require thinking and noticing the details. So much of what Altman did is packed and overlaid so densely with lines and symbols, that it requires more than one viewing to understand the full significance of what is happening in any one scene. Chaplin’s film seems simple in comparison. Both of the movies use slapstick comedy.</p>\r\n<p style=\"text-align: left\">A copy of M*A*S*H, and in particular \"M*A*S*H: Collectors Edition\", should be included in the 2100 Time Capsule. It’s method of production and humor are timeless. The message is one that should be repeated over and over. People who have been through a war believe in their side of the story, but they seem to forget very quickly what this type of engagement costs everyone. When the message is presented in visual form, with the humor aimed at those who keep the machinery of war well oiled, the moral of the story cannot be forgotten. Our children, and all the generations to come, need a reminder of where we come from and why. They need to always be mindful that as Fiero writes, \"There are no victors in war, only victims.\" Human beings, who leave this Earth in the 2100 Space Capsule, need to question authority, debate everything, come to a consensus of opinion and always, always, keep a sense of humor about it all.  They must never forget the results of war. M*A*S*H can be a lesson and reminder to future generations. It must be included in the 2100 Time Capsule.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">Works Cited</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Batchelor, Bob. \"Introduction to the 1970’s (Overview).\" <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. <em>The Humanistic Tration: The Early Modern World to the Present</em>. 6th Ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Gilbey, Ryan <em>It Don’t Worry Me: The Revolutioary American Films of the Seventies </em>New York: Faber and Faber, Inc. 3002. Print. \"Plot summary for MASH\" <em>IMDb</em> Amazon.com, n.d. Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">M*A*S*H:Collectors Edition.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Dir. Robert Altman. Perf. Donald Sutherland, Elliott Gould, Tom Skerritt and Sally Kellerman. 1969 Twentieth Century Fox, 2005 DVD. Two Disc Set.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Monaco, Paul. <em>History of American Movies: A Film-By-Film Look At The Art, Craft, and Business Of Cinema</em>. Scarecrow Press, 2010. eBook Collection <em>(EBSCOhost). </em>Web. 6 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Roman, James. \"M*A*S*H(Film, 1970) <em>Pop Culture Universe: Icons, Idols, Ideas</em>. ABC-CLIO, 2011. Web. 5 Nov. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Vance, Jeffrey. <em>Chaplin: genius of the cinema </em>New York: Harry N. Abrams. 2003. Print.</p>\r\n&nbsp;\r\n\r\n</div>','M*A*S*H: The Movie','','inherit','open','open','','2113-revision-6','','','2011-11-21 19:03:21','2011-11-22 01:03:21','',2113,'http://jeanatacc.com/2011/?p=2152',0,'revision','',0),(2153,1,'2011-11-21 19:40:13','2011-11-22 01:40:13','&nbsp;\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1.jpg\"><img class=\"alignnone size-medium wp-image-2130\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a>\r\n\r\nhttp://www.miomusik.com/trame_sonore_b/boyz_in_the_hood_CD_z.jpg\r\n\r\n“Boyz N’ The Hood” was created by John Singleton in 1991 starring Cuba Gooding Jr., Laurence Fishburne, and Ice Cube.  He was the perfect person to introduce the world to this view of inner city living having made this because he was, \"Writing and directing a film version of his growing up in South Central Los Angeles.\"<!--more--> (Berry)  The story is one about four friends growing up in the ghetto and the challenge it is to get out of that lifestyle.  Two of them have options to make a better life for themselves, although with a grim ending only one does due to their surroundings.  One of the friends as well meets a grim ending although he idolized the life of South Central aside from his friend’s aspirations.  It shows how there are not many options for young African Americans at the time to get themselves out of this lifestyle.  I believe that “Boyz N’ The Hood” should be preserved because it captures the true picture of the bottlenecks young African Americans faced during the time and the rampant racism that still existed at the time.\r\n\r\nThere is no question that future generations should be aware of this piece.  It depicts the level of living conditions are fellow Americans were faced with.  It shows the abuse of power that occurred by police, especially ones who had deep seated amounts of racism.  There is a scene in which a racist police officer pulling the boys over places the end of his gun in one of their mouths asking if they are scared to die.  Can you imagine being worried about the people that are put in place to protect you despising you?  Not to mention the constant worry of possibly being attacked or hit with a bullet on a day to day basis.  The unbridled wrath and harsh living conditions of this environment are something those generations to come must see.\r\n\r\nThis work was innovative for its time and was running the same course as some other films showing the deep seated reason for issues America was facing.  The first piece that runs hand in hand is “South Central” which was released in 1992.  It is about a young African American man who is sentenced to 10 years living the life of a gangster.  After spending time in prison educating himself he is released and wants nothing more than to leave that life behind for good.  However once out he comes to find that his son has been recruited by his old friend and is now on the same path his father.  Once again depicting the trials young African Americans faced and the ways they dealt with them.\r\n\r\nAnother wonderful view from the other side of the race line is what is seen in “American History X”.  This shows a young white male whose father is killed in a bad neighborhood doing his job.  This incites a deep seated rage and breads a figurehead in the local skin head society.  From that point his view and anger over this incident has him doing anything from breaking into locally owned minority stores and trashing them, to what lands him in prison when he crushes a thieves head on a curb.  The most powerful scene being after he has done so he turns around with a evil smile on his face; until he sees his brothers face who is standing behind him.  In turn he goes to prison and sees his skin head brethren doing business with the Hispanic gangs and he rebels.  This is his realization of how skewed his perception is when he is attacked not by a minority gang, but by his own.  At this point his eyes open and he educates himself.  Once getting out of prison the skin head figurehead is no more and all he wants is his brother to get out of that life.  Unfortunately it might be to late regardless of the things he has told his younger brother.  Another wonderful film (if you can stomach watching parts) that shows how the situations that were lived in by some molded them into different people.  In the end only to find out that is not the answer and they need to continue with life if possible.\r\n\r\nDuring the time it was received well as it, \"Garnered Oscar nominations for Best Original Screenplay and Best Director, making Singleton the first African American and the youngest person to be nominated for the latter honor.\" due to his groundbreaking work. (Zellars)  Although it was not very typical of its era as films regarding this subject were just beginning to come out.  Tons flocked to the theatres to see this raw view into the workings of the inner cities.  So many saw this that one critic has even stated that, \" His hardcore urban-drama was a realistic portrayal of the violence and hardships of growing up black in the inner cities, and gang violence sometimes erupted in the theater.\" (Berry)  Showing just how big of an impact this had on people of different age, race, and color.  His focus in making the film was not to prove a point to white people but is described as, \"According to the director, it was extremely important to him that his film communicate to audiences, both black and white, the essential relationship between Furious Styles (Laurence Fishburne) and his son, Tre (Cuba Gooding Jr.).\" (Calhoun) And once all was said and done the people received it with, \" When the film was received with raucous applause and critical praise\". (Calhoun)\r\n\r\nI think that this piece is absolutely wonderful.  I have seen it many times either on television or in movie format.  And it sucks you in every time you watch it.  No matter how many times you have seen it the story will keep you watching from the start.  The issues that plagued South Central at the time were enormous.  From friends going out wanting to have a good time and being held up by police, to young kids with so much to offer the world being gunned down in cold blood over some made up feud.  It shows the public how hard times were and the things that young people living their had to deal with on a day to day basis.  The obscurity of how times were then compared to now is baffling, although unfortunately still remains true in some parts of the country.  It makes one wonder how long the deep seated amount of hate and depravity that spawned in these areas will continue to effect them.\r\n\r\nToday the film is still viewed in the same light.  Not only is it groundbreaking for some, but it also shows people of how things were during that time period.  Critics will describe what Singleton has done with \"Boyz N\' The Hood\" as, \" this 23-year-old wunderkind had not authored and directed a film that could be blamed for anything more than depicting, accurately and movingly, the coming to manhood of a group of young black men in South Central. Gang life, and the endemic violence and police reaction it fosters.\" (Palmer)  Even today since its release twenty years ago the film in no way has died down.  Even now other than mainstream movie networks it can be seen on local cable.  Showing that regardless of how old it is the deep seated meanings it carriers are not forgotten and won\'t be.\r\n\r\nAmong his amazingly powerful works \"Boyz N\' The Hood\" is a groundbreaking film from this wonderful director.  He encompasses the struggles that he and anyone else living there at the time would face.  His work is described as, \" Singleton\'s works are populated with archetypes drawn from the black community who represent different aspects of black thought and culture.\" (Puckett)  There is no doubt in my mind \"Boyz N\' The Hood\'\" should be preserved due to its raw and uncut look into the trials that have faced generations.  He spares no detail about the struggles that faced many American\'s at the time due to social norm bottlenecks, and deep seated racism that still can be seen today just as then.  It deserves to be viewed for years and years to come so that people can truly see how debilitated some had to live during these times.\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\n            \"Singleton, John (1968–).\" <em>Historical Dictionary of African American Cinema</em>. S. Torriano Berry and Venise T. Berry. Lanham, MD: Scarecrow Press, 2007. 303-304. Historical Dictionaries of Literature and the Arts 12. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nCalhoun, Lucas. \"Boyz N’ the Hood.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 1. Santa Barbara, CA: ABC-CLIO, 2011. 65-66. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nPalmer, R. Barton. \"Singleton, John.\" <em>International Dictionary of Films and Filmmakers</em>. Ed. Sara Pendergast and Tom Pendergast. 4th ed. Vol. 2: Directors. Detroit: St. James Press, 2000. 919-921. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.\r\n\r\nPuckett, Caleb. \"Singleton, John.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 3. Santa Barbara, CA: ABC-CLIO, 2011. 805-807. <em>Gale Virtual Reference Library</em>. Web. 21 Nov. 2011\r\n\r\nZellars, Rachel. \"Singleton, John.\" <em>Encyclopedia of African-American Culture and History</em>. Ed. Colin A. Palmer. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2006. 2041. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.','John Singleton\'s \"Boyz N\' The Hood\" ','','inherit','open','open','','2129-revision-4','','','2011-11-21 19:40:13','2011-11-22 01:40:13','',2129,'http://jeanatacc.com/2011/?p=2153',0,'revision','',0),(2154,1,'2011-11-22 11:14:31','2011-11-22 17:14:31','&nbsp;\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1.jpg\"><img class=\"alignnone size-medium wp-image-2130\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/boyz_in_the_hood_CD_z1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" /></a>\r\n\r\nhttp://www.miomusik.com/trame_sonore_b/boyz_in_the_hood_CD_z.jpg\r\n\r\n“Boyz N’ The Hood” was created by John Singleton in 1991 starring Cuba Gooding Jr., Laurence Fishburne, and Ice Cube.  He was the perfect person to introduce the world to this view of inner city living having made this because he was, \"Writing and directing a film version of his growing up in South Central Los Angeles.\"<!--more--> (Berry)  The story is one about four friends growing up in the ghetto and the challenge it is to get out of that lifestyle.  Two of them have options to make a better life for themselves, although with a grim ending only one does due to their surroundings.  One of the friends as well meets a grim ending although he idolized the life of South Central aside from his friend’s aspirations.  It shows how there are not many options for young African Americans at the time to get themselves out of this lifestyle.  I believe that “Boyz N’ The Hood” should be preserved because it captures the true picture of the bottlenecks young African Americans faced during the time and the rampant racism that still existed at the time.\r\n\r\nThere is no question that future generations should be aware of this piece.  It depicts the level of living conditions are fellow Americans were faced with.  It shows the abuse of power that occurred by police, especially ones who had deep seated amounts of racism.  There is a scene in which a racist police officer pulling the boys over places the end of his gun in one of their mouths asking if they are scared to die.  Can you imagine being worried about the people that are put in place to protect you despising you?  Not to mention the constant worry of possibly being attacked or hit with a bullet on a day to day basis.  The unbridled wrath and harsh living conditions of this environment are something those generations to come must see.\r\n\r\nThis work was innovative for its time and was running the same course as some other films showing the deep seated reason for issues America was facing.  The first piece that runs hand in hand is “South Central” which was released in 1992.  It is about a young African American man who is sentenced to 10 years living the life of a gangster.  After spending time in prison educating himself he is released and wants nothing more than to leave that life behind for good.  However once out he comes to find that his son has been recruited by his old friend and is now on the same path his father.  Once again depicting the trials young African Americans faced and the ways they dealt with them.\r\n\r\nAnother wonderful view from the other side of the race line is what is seen in “American History X”.  This shows a young white male whose father is killed in a bad neighborhood doing his job.  This incites a deep seated rage and breads a figurehead in the local skin head society.  From that point his view and anger over this incident has him doing anything from breaking into locally owned minority stores and trashing them, to what lands him in prison when he crushes a thieves head on a curb.  The most powerful scene being after he has done so he turns around with a evil smile on his face; until he sees his brothers face who is standing behind him.  In turn he goes to prison and sees his skin head brethren doing business with the Hispanic gangs and he rebels.  This is his realization of how skewed his perception is when he is attacked not by a minority gang, but by his own.  At this point his eyes open and he educates himself.  Once getting out of prison the skin head figurehead is no more and all he wants is his brother to get out of that life.  Unfortunately it might be to late regardless of the things he has told his younger brother.  Another wonderful film (if you can stomach watching parts) that shows how the situations that were lived in by some molded them into different people.  In the end only to find out that is not the answer and they need to continue with life if possible.\r\n\r\nDuring the time it was received well as it, \"Garnered Oscar nominations for Best Original Screenplay and Best Director, making Singleton the first African American and the youngest person to be nominated for the latter honor.\" due to his groundbreaking work. (Zellars)  Although it was not very typical of its era as films regarding this subject were just beginning to come out.  Tons flocked to the theatres to see this raw view into the workings of the inner cities.  So many saw this that one critic has even stated that, \" His hardcore urban-drama was a realistic portrayal of the violence and hardships of growing up black in the inner cities, and gang violence sometimes erupted in the theater.\" (Berry)  Showing just how big of an impact this had on people of different age, race, and color.  His focus in making the film was not to prove a point to white people but is described as, \"According to the director, it was extremely important to him that his film communicate to audiences, both black and white, the essential relationship between Furious Styles (Laurence Fishburne) and his son, Tre (Cuba Gooding Jr.).\" (Calhoun) And once all was said and done the people received it with, \" When the film was received with raucous applause and critical praise\". (Calhoun)\r\n\r\nI think that this piece is absolutely wonderful.  I have seen it many times either on television or in movie format.  And it sucks you in every time you watch it.  No matter how many times you have seen it the story will keep you watching from the start.  The issues that plagued South Central at the time were enormous.  From friends going out wanting to have a good time and being held up by police, to young kids with so much to offer the world being gunned down in cold blood over some made up feud.  It shows the public how hard times were and the things that young people living their had to deal with on a day to day basis.  The obscurity of how times were then compared to now is baffling, although unfortunately still remains true in some parts of the country.  It makes one wonder how long the deep seated amount of hate and depravity that spawned in these areas will continue to effect them.\r\n\r\nToday the film is still viewed in the same light.  Not only is it groundbreaking for some, but it also shows people of how things were during that time period.  Critics will describe what Singleton has done with \"Boyz N\' The Hood\" as, \" this 23-year-old wunderkind had not authored and directed a film that could be blamed for anything more than depicting, accurately and movingly, the coming to manhood of a group of young black men in South Central. Gang life, and the endemic violence and police reaction it fosters.\" (Palmer)  Even today since its release twenty years ago the film in no way has died down.  Even now other than mainstream movie networks it can be seen on local cable.  Showing that regardless of how old it is the deep seated meanings it carriers are not forgotten and won\'t be.\r\n\r\nAmong his amazingly powerful works \"Boyz N\' The Hood\" is a groundbreaking film from this wonderful director.  He encompasses the struggles that he and anyone else living there at the time would face.  His work is described as, \" Singleton\'s works are populated with archetypes drawn from the black community who represent different aspects of black thought and culture.\" (Puckett)  There is no doubt in my mind \"Boyz N\' The Hood\'\" should be preserved due to its raw and uncut look into the trials that have faced generations.  He spares no detail about the struggles that faced many American\'s at the time due to social norm bottlenecks, and deep seated racism that still can be seen today just as then.  It deserves to be viewed for years and years to come so that people can truly see how debilitated some had to live during these times.\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\n            \"Singleton, John (1968–).\" <em>Historical Dictionary of African American Cinema</em>. S. Torriano Berry and Venise T. Berry. Lanham, MD: Scarecrow Press, 2007. 303-304. Historical Dictionaries of Literature and the Arts 12. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nCalhoun, Lucas. \"Boyz N’ the Hood.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 1. Santa Barbara, CA: ABC-CLIO, 2011. 65-66. <em>Gale Virtual Reference Library</em>. Web. 14 Nov. 2011.\r\n\r\nPalmer, R. Barton. \"Singleton, John.\" <em>International Dictionary of Films and Filmmakers</em>. Ed. Sara Pendergast and Tom Pendergast. 4th ed. Vol. 2: Directors. Detroit: St. James Press, 2000. 919-921. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.\r\n\r\nPuckett, Caleb. \"Singleton, John.\" <em>Movies in American History</em>: <em>An Encyclopedia</em>. Ed. Philip C. DiMare. Vol. 3. Santa Barbara, CA: ABC-CLIO, 2011. 805-807. <em>Gale Virtual Reference Library</em>. Web. 21 Nov. 2011\r\n\r\nZellars, Rachel. \"Singleton, John.\" <em>Encyclopedia of African-American Culture and History</em>. Ed. Colin A. Palmer. 2nd ed. Vol. 5. Detroit: Macmillan Reference USA, 2006. 2041. <em>Gale Virtual Reference Library</em>. Web. 7 Nov. 2011.','John Singleton\'s \"Boyz N\' The Hood\" ','','inherit','open','open','','2129-revision-5','','','2011-11-22 11:14:31','2011-11-22 17:14:31','',2129,'http://jeanatacc.com/2011/?p=2154',0,'revision','',0),(2155,1,'2011-11-21 16:53:00','2011-11-21 22:53:00','<p align=\"center\"> </p>\r\n\r\n\r\n[caption id=\"attachment_2106\" align=\"aligncenter\" width=\"500\" caption=\"thegypsyshake.tumblr.com\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/tumblr_lcgp8aPWB01qb5lh8o1_500.jpg\"><img class=\"size-full wp-image-2106\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/tumblr_lcgp8aPWB01qb5lh8o1_500.jpg\" alt=\"\" width=\"500\" height=\"375\" /></a>[/caption]\r\n<p align=\"center\"><span style=\"text-decoration: underline\">Woodstock ‘69 with a Little Bit of Jimi Hendrix</span></p>\r\n            A lot of things took place in the 1960’s within the United States of America. Some of them were good things and some of them were not such good things that we like to talk about too often. One of those “things” that can be controversial depending on who you are talking to about is “The Star Spangled Banner” done by Jimi Hendrix at Woodstock in 1969. Someone that you talk to might say that “This is one of the coolest things that happened at Woodstock” and someone else might tell you that “It is a sign of disrespect to our country and the Star Spangled Banner”<!--more-->\r\n\r\n            To start you off I feel like you need to know a little background about what was taking place in the year 1969. For starters Richard Nixon became President. The U.S. was in the heart of fighting the Vietnam War (A lot of controversy behind that). Woodstock took place and had over 350,000 people attend the venue to watch performers. “Buzz Aldren and Neil Armstrong became the first men to have ever stepped on the on the moon” (Kid-Port).\r\n\r\n            The Vietnam War was the biggest thing that was going on during this time that had the hugest impact on what was taking place with the people in this country. The war started in 1954 and didn’t end till 1974, and by the end of 1969 more than 35,000 soldiers had been killed. The Americans back in the states were putting on a lot of protest events to show the government that they were not in support for the war. Most of the reasoning behind the U.S. citizens not showing support for the war is that people were told and sort of forced with propaganda showing the U.S. soldiers killing families that were defenseless. Musicians were attending these protest for different reasons, some of them used it to get more people to want to listen to their music and support them, and some for simply because they were against what they thought was taking place over in Vietnam.\r\n\r\n            One large musical event that took place was Woodstock. Woodstock could be a comparison to ACL (Austin City Limits) music festival. Had a large group of people come to a venue (or open field) to listen to music for 3 days and then all go home afterwards with the only remains trash and ruined field. Woodstock would take place every year on a dairy farm in Bethel, New York.  It was put together by a “bunch of kids, with the oldest one being 27 years old” (Rosenberg) and the one thing that was a first for Woodstock was in 1969 after the shows were over the owners “were $1 million in debt and faced up to 70 different lawsuits.” (Rosenberg) A lot of things took place during the 1969 shows and one thing that upset the fans was when Jimi Hendrix showed up late to his show time. It was reported that Jimi Hendrix was supposed to have shown up on stage at midnight on the last day and play till the end of the concert, but Hendrix reportedly didn’t show up to stage and play till 9a.m. after many of the fans of the concert had already begun to leave the venue. (DigitalDreamDoor.com)\r\n\r\n            When Hendrix played the “Star Spangled Banner” he was doing something that musicians were doing all over the country, by playing a national anthem at an event for everyone to hear. People were making this as a traditional thing that during every big event of some sort that the national was to be played.\r\n\r\n            When Hendrix played the “Star Spangled Banner” on his guitar could be compared to a Puerto Rican musician Jose Feliciano who played the national anthem Tiger Stadium in Detroit when he “when he strummed a slow, bluesy rendition of the national anthem before Game 5 of the World Series between Detroit and St. Louis.” (Gettings) Feliciano was the first person to perform the national anthem to a different beat than what it was written to, so when Hendrix played the “Star Spangled Banner” on his guitar as a solo it was the first time that a musician had played the song in front of a group of people on a guitar with no lyrics being said. It was a start of a new generation taking this song and turning it into its own piece of work.\r\n\r\n            Hendrix started something new, well Jose Feliciano did but Hendrix gets the credit for his being more of a movement than what Feliciano’s was. People every day are changing the national anthem into their own style. Someone to point out would have to Christina Aguilera when she sang at Super Bowl XLV she had changed (butchered) the national anthem to where it would be different and be best for her to sing, and well in my opinion it didn’t work out into her favor.\r\n\r\n             When Jose Feliciano sang the national anthem people had a mixed feeling to what had taken place and the alterations to their national anthem; for Hendrix it was the same feelings. People were both for and against what he had done. People that were against felt like this was an act out against the government for what was taking place in the Vietnam War, and would like to have seen Hendrix be punished copyright infractions. The other side of it was people loved mostly “the hippies who supported the protest of the war” (Protasker) that when Hendrix played the national anthem it was to help push for the ending of Vietnam and help the people’s voices to be heard by the government.\r\n\r\n            If you go up to a teenager today and ask them about their perspective on the national anthem done by Jimi Hendrix majority of them will reply with “that’s the coolest thing” they know nothing about the reasoning why it was played (well at least most of them wont). They love the way Hendrix played the national anthem and think that it was very innovated. If you were to go up to someone who is in the military and old enough to have been around when Hendrix played the national anthem at Woodstock they might have a different feeling towards the piece of music. For example my friend loves the way it was played and try’s to mimic it as well when he plays on his electric guitar, but his father (who fought in Vietnam) thinks that it was innovated but very disrespectful to the reasoning behind why he did it.\r\n\r\n            In my personal opinion of this is that I loved what Hendrix did I thought it was very innovating.  This blog that was written by someone with the screen name “PJ” wrote that the “Jimi Hendrix’ version of “The Star Spangled Banner” is one of the most passionate pieces of modern rock guitar ever committed to tape.” (PJ) where he at first states that he really isn’t for people doing the national anthem with adding their own style to it, but after he listens to the Hendrix version is loves what he did at Woodstock. Well I am kind of like that too. I don’t like when people change the national anthem so much that it sounds nothing like the original, but what Hendrix did was pretty innovated and sweet.\r\n\r\n            Do I think that Hendrix didn’t anything wrong with doing it at an event that was primarily put together to protest the war no, he knew it would get the biggest hit there if he did it. He was known to go to protest against the war just to get popularity because of the people that would attend those were the people that would mostly like be the ones jamming out to his music while they were on cloud nine. I think the way it was played was pretty sweet, and just about all my friends who play the guitar have tried to play it once or twice on the guitar. I also like the fact that I’m sure someone told him that it would be a bad idea to probably play it because you could tick off a lot of people and he went ahead and it know it would earn him a lot of respect from a lot of people and crap from a lot of others.\r\n\r\n            When you say something about Jimi Hendrix the first thing that comes to my mind is the Star Spangled Banner done on the guitar by him, then comparison between him and Stevie Ray Vaughan. I feel that his performance should be remembered because it was his way of doing the national anthem that truly did start a revolution of followers behind him. People will probably never remember the reasoning or care to know the reasoning behind why he did it, but they will always remember the fact that he did it and how innovating it was and out of the norm at the time, and for that alone it should be preserved.\r\n<p align=\"center\">Bibliography</p>\r\n\r\n<ol>\r\n	<li>Jimi Hendrix “The Star Spangled Banner” , written by PJ, Every day I write the blog,  January 12th, 2010, seen on November 7th, 2011; <a href=\"http://every-day-i-write-the-blog.blogspot.com/2010/01/jimi-hendrix-star-spangled-banner.html\">http://every-day-i-write-the-blog.blogspot.com/2010/01/jimi-hendrix-star-spangled-banner.html</a></li>\r\n	<li>Digital Dream Door; November 20, 2011; <a href=\"http://digitaldreamdoor.com/pages/music0_woodstock.html\">http://digitaldreamdoor.com/pages/music0_woodstock.html</a></li>\r\n	<li>Infoplease, Star-Mangled Banner, by John Gettings, November 21st, 2011 <a href=\"http://www.infoplease.com/spot/starmangledbanner.html\">http://www.infoplease.com/spot/starmangledbanner.html</a></li>\r\n	<li>he Moon Landing, Kid-Port, November 20th, 2011 <a href=\"http://www.kidport.com/reflib/science/moonlanding/moonlanding.htm\">http://www.kidport.com/reflib/science/moonlanding/moonlanding.htm</a></li>\r\n	<li>The Woodstock Festival of 1969, By Jennifer Rosenberg, About.com Guide, November 21st, 2011, <a href=\"http://history1900s.about.com/od/1960s/p/woodstock.htm\">http://history1900s.about.com/od/1960s/p/woodstock.htm</a></li>\r\n	<li>Jimi Hendrix, My guitar solo.com, November 21, 2011 <a href=\"http://www.myguitarsolo.com/Players/JimiHendrix.htm\">http://www.myguitarsolo.com/Players/JimiHendrix.htm</a></li>\r\n	<li>3 Days of Peace and Music, by Protasker, November 21st, 2011, <a href=\"http://www.squidoo.com/woodstock\">http://www.squidoo.com/woodstock</a></li>\r\n</ol>','Woodstock 1969!!','','inherit','open','open','','2105-revision-5','','','2011-11-21 16:53:00','2011-11-21 22:53:00','',2105,'http://jeanatacc.com/2011/?p=2155',0,'revision','',0),(2158,46,'2011-11-22 22:05:18','2011-11-23 04:05:18','Miyazaki\'s Treasure: Spirited Away, A Love Eternal\r\n\r\n<a href=\"http://media.animewallpapers.com/wallpapers/spirited/spirited_4_640.jpg?m=1306731585\"><img class=\"aligncenter\" src=\"http://media.animewallpapers.com/wallpapers/spirited/spirited_4_640.jpg?m=1306731585\" alt=\"\" width=\"567\" height=\"425\" /></a>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\',serif;\"><span style=\"font-size: small;\">It is definitely no secret that the popularity and general acceptance of various forms of film has risen in more recent years, and one of the best examples on a global scale is the film from Hayao Miyazaki, Spirited Away. Released as </span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\',serif;\"><span style=\"font-size: small;\"><em>Sen to Chihiro no </em></span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://en.wikipedia.org/wiki/Kamikakushi\"><span style=\"font-family: \'Times New Roman\',serif;\"><span style=\"font-size: small;\"><em>Kamikakushi</em></span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\',serif;\"><span style=\"font-size: small;\">, or \"The Mysterious Disappearance of Sen and Chihiro\"</span></span></span><span style=\"font-family: \'Times New Roman\',serif;\"><span style=\"font-size: small;\">in 2001, it immediately broke the international boundaries and was showcased world wide. It has since had many DVD releases and various language recordings and keeps it place amongst the greatest animated films of all time. This was in no small part due to the classic elements of Japanese folklore told through a new medium, using amazing techniques and execution. As it is one of the quintessential examples of Japanese cinema and its message of unconditional, familial love told with astonishing color and vibrancy definitely earn Spirited Away a slot for preservation.<!--more--></span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Rising to fame as “Miyazaki\'s best work” Spirited Away began simply as a tale for “young friends (Suzuki) .” Miyazaki considered what a little girl held dear to her, and with that thought alone, shed off the ideas of crushes and romanticism. He knew that a family was the most important aspect of their life.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> The story revolves around the 10 year old, Chihiro, who is moving to a new city, away from all of her friends. Her family decides to take a stop at what appears to be an abandoned amusement park. Through a series of magical events, Chihiro is set to the task of rescuing her parents from the Witch who runs a spirit-realm bath house. Chihiro trades her name for the ability to work in the bath house and meets a boy, Haku with whom she feels a strange connection. Chihiro works her time in the bath house, but must take on the quest of returning the stolen son of the Witch that has her parents in exchange for their return. Upon completing this task, she is granted her name again and leaves the park with her parents. </span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Now, this is quite the shortened version of the tale, and I highly encourage everyone to watch. The emotion cannot be captured at all by that of a paragraph. Miyazaki uses the events and scenes perfectly to depict the passage of time in such a way that you truly feel for Chihiro\'s plight more and more with each day she remains working.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Spirited away broke the mold in many ways, but also had some similarities to the rest of its time. It was most assuredly one of the first Anime films to break out of the culture of Japan and into the mainstream for other countries, but even with that, we can see some elements of the time present in the film. We see elements of classic cultural folk stories retold for a brand new audience, a trend that was actually gaining popularity world wide. (Lu) Disney had been doing it for years with their classics and remakes, and we even had many new live action films revisiting old stories. Digital animation was gaining serious ground and Spirited Away was at the forefront of that movement. Using CG cells to animate was a way that artists could focus on incredible detail and beauty without needing to devote the time to the intricacies required by good animation. Specific to Japanese cinema, we see a distinct lack of “reluctant heroism” that has become so popular with Western Cinema. Chihiro simply understands her duty and does it, without complaint or whining about the unfair nature of it. </span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> This is also a key difference, and one of the reasons the film is so special amongst international audiences. Instead of having a masculine or sexualized female lead that has been burdened with the “curse of awesome” ( Tv Tropes) and must fight to save the world, we have a just a girl. Chihiro has no super powers or special abilities, she just knows what she needs to do to save her family and does this with barely a whimper, even when alone in another world. Even though CG animation and digital techniques were being used, Spirited away also stood apart from the rest in its level of detail and specialization. The use of color and scenery, even in background elements is incredible and intense. Instead of simply animating the action and drawing all focus to a central point, a common technique in cinema, Spirited Away has vast scenes and landscapes that can be absorbed and reflected on. We also see a step away from the romantic love between lead characters. Chihiro is not burdened by a crush or a soul mate, but driven by an unconditional love for her family.(Crow) Most films of the time, especially in Western Cinema contained elements of romance and love, even when about younger characters. It is very representative of the differences in culture, where one values family over self, especially when it comes to love. </span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> As evidenced by its immediate globalization, the initial reception was completely positive. I have looked very hard for a negative review from any reputable source and they simply cannot be found. Audiences, critics and other artists saw the beauty of the film right off the bat, and it was a resounding success, monetarily and artistically. This combination is not often found among film, and most films that have attained artistic credibility along with a decent dollar total did one long after the other, and most of those follow the trend of the former leading the way. Spirited Away came out in an age of the internet and reviews being widespread, and this simply helped it along to a great degree. The flurry of positive reviews, being backed by a community of people who had seen and loved the film, kept pushing it forward into what many people consider “Classic” status. (Tomatoes)</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> This is still true today. As stated earlier, the film has had numerous releases and continues to sell DVDs, soundtracks, art books, figures and nearly any form of media remotely related to the work. It has been rated 9</span></span><sup><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\">th</span></span></sup><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> and 10</span></span><sup><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\">th</span></span></sup><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> in two separate “Top 100 Films” lists and has received the award for “Best Animated Film” from several different agencies (Tomatoes). Having been around for 10 years now, we are seeing this be a film that parents are showing their children as one of the films that influenced their lives. It has been hailed as a new Bambi or Wizard of Oz, a film that a child simply must see to understand the beauty and previous generations. The age of the film has also given time for many people to look into some of the deeper connections that it offers, to an era long past. Being able to leap frog back to a time when animation was still relatively new, we can see the true importance of the things selected to be in the movie. This was not a summer Hollywood blockbuster intended to make money, but a story that was supposed to show strength and love. Being able to see that, now, after so many other films have come out, we can also see the messages about older times that Miyazaki wished to communicate. </span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Finding a comparison for this film was rather difficult for me. I was considering several different options, because it would have been easy to find something that was quite the opposite of the elements presented in Spirited Away. I settled with looking at Late Spring, a Black and White film from the Japanese director Ozu. The story is of an aging professor and his daughter who cares for him, and the pivotal moment of their relationship where she must marry and leave him to face the remainder of the world alone. Immediately we see some very contrasting stylistic differences between the pieces. Late Spring is incredibly minimal, and focuses heavily of the characters and their reactions and expressions, an artistic format granted by live film. Spirited Away is a tale of beauty, and thus the environments of the film are all beautiful and majestic. Both films achieve a similar goal however, using the very different techniques. The lush beauty of scenery, and the stark lack of environment both serve to enhance the audience\'s connections to the characters. (Lu) It is very interesting to watch these films back to back, and accept that the level of emotion drawn out by each is remarkably similar. Spirited Away also uses a very minimal form of dialogue, digging things to deeper than their core, and making the audience learn about the characters by making assumptions about them. Late Spring uses a less minimal form of dialogue, but one never has to make any assumptions. The characters are brief in their words, but everything is said exactly how it is meant to be heard.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> The two films however, share a likeness that is truly wonderful. Both films focus on familial love, an unconditional love that displays the power and sacrifice one person can experience through this love. Both have an element of connection to someone other than the family, but these relationships only serve to enhance the familial connections that our leads experience. In both of these films, international audiences can see a picture of love and strength that is not normally present in film.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Spirited Away is one of my favorite films ever released, as I am sure is obvious. I was 14 when I saw the film, merely two weeks after it released in Japan. A theater in Austin had two of their employees translate the film and began airing it with the permission of Studio Ghibli, the production company. Seeing this film was very amazing for me, I realized I was making a role-model out of a 10 year old girl. This film was so different than anything I had ever seen, and made me reconsider many of the ways I saw the world and my relationships.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Spirited Away is one of the best depictions of the priorities of an entirely unique culture. Much of what will be preserved in the time capsules will be of a European or Western lineage, and Spirited Away is one of the best ways to show the other side of the same coin. Humanity has multiple forms of love, and the unconditional, familial type of life, shown with wondrous color and style that we get from Spirited Away is amazing and powerful. A story of a girl, whose strength is only from herself and love, landscapes and scenes that take the breath away, characters that embody the human condition entirely. This piece of film should be preserved to teach future generations about the capabilities of a person without any elements of the classic hero, someone who is only driven by something more for their family.</span></span></p>\r\n<p align=\"CENTER\"><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Works Cited</span></span></span></p>\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Crow, The. \"Spirited Away: Film Review &amp; Analysis.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Associated Content from Yahoo! - Associatedcontent.com</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://www.associatedcontent.com/article/2604687/spirited_away_film_review_analysis.html\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://www.associatedcontent.com/article/2604687/spirited_away_film_review_analysis.html</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">? Cat=40&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>A very good analysis of the film, done by a student for a similar project. A summary as well as some insight into the preservation perspective. I used this considering how to phrase my own thoughts.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">\"Cursed with Awesome - Television Tropes &amp; Idioms.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Home Page - Television Tropes &amp; Idioms</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 18 Nov. 2011. &lt;http://tvtropes.org/pmwiki/pmwiki.php/Main/CursedWithAwesome&gt;. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Article on the common tropes of heroism in Western Film and art. Helped differentiate between the two cultures.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">\"Elements in Spirited Away by *tenshichild on DeviantART.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Tenshichild on DeviantART</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://tenshichild.deviantart.com/art/Elements-in-Spirited-Away-194112988\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://tenshichild.deviantart.com/art/Elements-in-Spirited-Away-194112988</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>A brief analysis of some of the elements and older themes present in the film. Used to grab some of the thematic information.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">\"Film Analysis - Spirited Away.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Global Anime</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 17 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://bountyhuntr3.tripod.com/id11.html\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://bountyhuntr3.tripod.com/id11.html</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Another brief analysis, by a student. Very good for understanding an Eastern perspective on the film.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Late Spring</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Dir. Ozu. 2010. DVD. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Film used for comparison. Absolutely amazing,</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Lu, Alvin, and Hayao Miyazaki. </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>The Art of Miyazaki\'s Spirited Away</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. San Francisco, CA: Viz Communications, 2002. Print. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>A fantastic commentary and explanation of the art used in the film. Used for much of my arguments based on artistic value.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Saporito, Jeff. \"A Hero\'s Journey: Spirited Away.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Associated Content from Yahoo! - Associatedcontent.com</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://www.associatedcontent.com/article/1050072/a_heros_journey_spirited_away.html\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://www.associatedcontent.com/article/1050072/a_heros_journey_spirited_away.html</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">? Cat=38&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Examination of some of the more heroic elements of Chihiro. Used for a comparison between eastern and western heroes.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Spirited Away</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Dir. Hayao Miyazaki. 2002. DVD. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>The film itself, a masterpiece.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">\"Spirited Away (Sen to Chihiro No Kamikakushi) - Rotten Tomatoes.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Movies | Movie Trailers | Reviews - Rotten Tomatoes</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 17 Nov. 2011. &lt;http://www.rottentomatoes.com/m/spirited_away/&gt;. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Critical reception of the film. Used for how the film was and is received. </em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Suzuki, Ayumi. \"A Nightmare of Capitalist Japan: \"Spirited Away\" by Ayumi Suzuki.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>JCsplash</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 17 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://www.ejumpcut.org/archive/jc51.2009/SpiritedAway/index.html\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://www.ejumpcut.org/archive/jc51.2009/SpiritedAway/index.html</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>A good article on the thematic elements of the film, more related to breaking away from Western influence. Used more of a guide to steer me away from getting “righteous” about it.</em></span></span></span>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"><!--more--></span></span></p>','Miyazaki\'s Treasure: Spirited Away, A Love Eternal','','publish','open','open','','miyazakis-treasure-spirited-away-a-love-eternal','','','2011-11-23 14:22:48','2011-11-23 20:22:48','',0,'http://jeanatacc.com/2011/?p=2158',0,'post','',11),(2159,46,'2011-11-22 22:03:28','2011-11-23 04:03:28','','Miyazaki\'s Treasure: Spirited Away, A Love Eternal','','inherit','open','open','','2158-revision','','','2011-11-22 22:03:28','2011-11-23 04:03:28','',2158,'http://jeanatacc.com/2011/?p=2159',0,'revision','',0),(2161,1,'2011-11-23 14:22:25','2011-11-23 20:22:25','Miyazaki\'s Treasure: Spirited Away, A Love Eternal\r\n\r\n<a href=\"http://media.animewallpapers.com/wallpapers/spirited/spirited_4_640.jpg?m=1306731585\"><img class=\"alignnone\" src=\"http://media.animewallpapers.com/wallpapers/spirited/spirited_4_640.jpg?m=1306731585\" alt=\"\" width=\"640\" height=\"480\" /></a>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\">It is definitely no secret that the popularity and general acceptance of various forms of film has risen in more recent years, and one of the best examples on a global scale is the film from Hayao Miyazaki, Spirited Away. Released as </span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"><em>Sen to Chihiro no </em></span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://en.wikipedia.org/wiki/Kamikakushi\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"><em>Kamikakushi</em></span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\">, or \"The Mysterious Disappearance of Sen and Chihiro\"</span></span></span><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\">in 2001, it immediately broke the international boundaries and was showcased world wide. It has since had many DVD releases and various language recordings and keeps it place amongst the greatest animated films of all time. This was in no small part due to the classic elements of Japanese folklore told through a new medium, using amazing techniques and execution. As it is one of the quintessential examples of Japanese cinema and its message of unconditional, familial love told with astonishing color and vibrancy definitely earn Spirited Away a slot for preservation.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Rising to fame as “Miyazaki\'s best work” Spirited Away began simply as a tale for “young friends (Suzuki) .” Miyazaki considered what a little girl held dear to her, and with that thought alone, shed off the ideas of crushes and romanticism. He knew that a family was the most important aspect of their life.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> The story revolves around the 10 year old, Chihiro, who is moving to a new city, away from all of her friends. Her family decides to take a stop at what appears to be an abandoned amusement park. Through a series of magical events, Chihiro is set to the task of rescuing her parents from the Witch who runs a spirit-realm bath house. Chihiro trades her name for the ability to work in the bath house and meets a boy, Haku with whom she feels a strange connection. Chihiro works her time in the bath house, but must take on the quest of returning the stolen son of the Witch that has her parents in exchange for their return. Upon completing this task, she is granted her name again and leaves the park with her parents. </span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Now, this is quite the shortened version of the tale, and I highly encourage everyone to watch. The emotion cannot be captured at all by that of a paragraph. Miyazaki uses the events and scenes perfectly to depict the passage of time in such a way that you truly feel for Chihiro\'s plight more and more with each day she remains working.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Spirited away broke the mold in many ways, but also had some similarities to the rest of its time. It was most assuredly one of the first Anime films to break out of the culture of Japan and into the mainstream for other countries, but even with that, we can see some elements of the time present in the film. We see elements of classic cultural folk stories retold for a brand new audience, a trend that was actually gaining popularity world wide. (Lu) Disney had been doing it for years with their classics and remakes, and we even had many new live action films revisiting old stories. Digital animation was gaining serious ground and Spirited Away was at the forefront of that movement. Using CG cells to animate was a way that artists could focus on incredible detail and beauty without needing to devote the time to the intricacies required by good animation. Specific to Japanese cinema, we see a distinct lack of “reluctant heroism” that has become so popular with Western Cinema. Chihiro simply understands her duty and does it, without complaint or whining about the unfair nature of it. </span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> This is also a key difference, and one of the reasons the film is so special amongst international audiences. Instead of having a masculine or sexualized female lead that has been burdened with the “curse of awesome” ( Tv Tropes) and must fight to save the world, we have a just a girl. Chihiro has no super powers or special abilities, she just knows what she needs to do to save her family and does this with barely a whimper, even when alone in another world. Even though CG animation and digital techniques were being used, Spirited away also stood apart from the rest in its level of detail and specialization. The use of color and scenery, even in background elements is incredible and intense. Instead of simply animating the action and drawing all focus to a central point, a common technique in cinema, Spirited Away has vast scenes and landscapes that can be absorbed and reflected on. We also see a step away from the romantic love between lead characters. Chihiro is not burdened by a crush or a soul mate, but driven by an unconditional love for her family.(Crow) Most films of the time, especially in Western Cinema contained elements of romance and love, even when about younger characters. It is very representative of the differences in culture, where one values family over self, especially when it comes to love. </span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> As evidenced by its immediate globalization, the initial reception was completely positive. I have looked very hard for a negative review from any reputable source and they simply cannot be found. Audiences, critics and other artists saw the beauty of the film right off the bat, and it was a resounding success, monetarily and artistically. This combination is not often found among film, and most films that have attained artistic credibility along with a decent dollar total did one long after the other, and most of those follow the trend of the former leading the way. Spirited Away came out in an age of the internet and reviews being widespread, and this simply helped it along to a great degree. The flurry of positive reviews, being backed by a community of people who had seen and loved the film, kept pushing it forward into what many people consider “Classic” status. (Tomatoes)</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> This is still true today. As stated earlier, the film has had numerous releases and continues to sell DVDs, soundtracks, art books, figures and nearly any form of media remotely related to the work. It has been rated 9</span></span><sup><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\">th</span></span></sup><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> and 10</span></span><sup><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\">th</span></span></sup><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> in two separate “Top 100 Films” lists and has received the award for “Best Animated Film” from several different agencies (Tomatoes). Having been around for 10 years now, we are seeing this be a film that parents are showing their children as one of the films that influenced their lives. It has been hailed as a new Bambi or Wizard of Oz, a film that a child simply must see to understand the beauty and previous generations. The age of the film has also given time for many people to look into some of the deeper connections that it offers, to an era long past. Being able to leap frog back to a time when animation was still relatively new, we can see the true importance of the things selected to be in the movie. This was not a summer Hollywood blockbuster intended to make money, but a story that was supposed to show strength and love. Being able to see that, now, after so many other films have come out, we can also see the messages about older times that Miyazaki wished to communicate. </span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Finding a comparison for this film was rather difficult for me. I was considering several different options, because it would have been easy to find something that was quite the opposite of the elements presented in Spirited Away. I settled with looking at Late Spring, a Black and White film from the Japanese director Ozu. The story is of an aging professor and his daughter who cares for him, and the pivotal moment of their relationship where she must marry and leave him to face the remainder of the world alone. Immediately we see some very contrasting stylistic differences between the pieces. Late Spring is incredibly minimal, and focuses heavily of the characters and their reactions and expressions, an artistic format granted by live film. Spirited Away is a tale of beauty, and thus the environments of the film are all beautiful and majestic. Both films achieve a similar goal however, using the very different techniques. The lush beauty of scenery, and the stark lack of environment both serve to enhance the audience\'s connections to the characters. (Lu) It is very interesting to watch these films back to back, and accept that the level of emotion drawn out by each is remarkably similar. Spirited Away also uses a very minimal form of dialogue, digging things to deeper than their core, and making the audience learn about the characters by making assumptions about them. Late Spring uses a less minimal form of dialogue, but one never has to make any assumptions. The characters are brief in their words, but everything is said exactly how it is meant to be heard.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> The two films however, share a likeness that is truly wonderful. Both films focus on familial love, an unconditional love that displays the power and sacrifice one person can experience through this love. Both have an element of connection to someone other than the family, but these relationships only serve to enhance the familial connections that our leads experience. In both of these films, international audiences can see a picture of love and strength that is not normally present in film.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Spirited Away is one of my favorite films ever released, as I am sure is obvious. I was 14 when I saw the film, merely two weeks after it released in Japan. A theater in Austin had two of their employees translate the film and began airing it with the permission of Studio Ghibli, the production company. Seeing this film was very amazing for me, I realized I was making a role-model out of a 10 year old girl. This film was so different than anything I had ever seen, and made me reconsider many of the ways I saw the world and my relationships.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"> Spirited Away is one of the best depictions of the priorities of an entirely unique culture. Much of what will be preserved in the time capsules will be of a European or Western lineage, and Spirited Away is one of the best ways to show the other side of the same coin. Humanity has multiple forms of love, and the unconditional, familial type of life, shown with wondrous color and style that we get from Spirited Away is amazing and powerful. A story of a girl, whose strength is only from herself and love, landscapes and scenes that take the breath away, characters that embody the human condition entirely. This piece of film should be preserved to teach future generations about the capabilities of a person without any elements of the classic hero, someone who is only driven by something more for their family.</span></span></p>\r\n<p align=\"CENTER\"><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Works Cited</span></span></span></p>\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Crow, The. \"Spirited Away: Film Review &amp; Analysis.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Associated Content from Yahoo! - Associatedcontent.com</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://www.associatedcontent.com/article/2604687/spirited_away_film_review_analysis.html\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://www.associatedcontent.com/article/2604687/spirited_away_film_review_analysis.html</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">? Cat=40&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>A very good analysis of the film, done by a student for a similar project. A summary as well as some insight into the preservation perspective. I used this considering how to phrase my own thoughts.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">\"Cursed with Awesome - Television Tropes &amp; Idioms.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Home Page - Television Tropes &amp; Idioms</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 18 Nov. 2011. &lt;http://tvtropes.org/pmwiki/pmwiki.php/Main/CursedWithAwesome&gt;. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Article on the common tropes of heroism in Western Film and art. Helped differentiate between the two cultures.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">\"Elements in Spirited Away by *tenshichild on DeviantART.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Tenshichild on DeviantART</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://tenshichild.deviantart.com/art/Elements-in-Spirited-Away-194112988\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://tenshichild.deviantart.com/art/Elements-in-Spirited-Away-194112988</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>A brief analysis of some of the elements and older themes present in the film. Used to grab some of the thematic information.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">\"Film Analysis - Spirited Away.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Global Anime</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 17 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://bountyhuntr3.tripod.com/id11.html\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://bountyhuntr3.tripod.com/id11.html</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Another brief analysis, by a student. Very good for understanding an Eastern perspective on the film.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Late Spring</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Dir. Ozu. 2010. DVD. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Film used for comparison. Absolutely amazing,</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Lu, Alvin, and Hayao Miyazaki. </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>The Art of Miyazaki\'s Spirited Away</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. San Francisco, CA: Viz Communications, 2002. Print. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>A fantastic commentary and explanation of the art used in the film. Used for much of my arguments based on artistic value.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Saporito, Jeff. \"A Hero\'s Journey: Spirited Away.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Associated Content from Yahoo! - Associatedcontent.com</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://www.associatedcontent.com/article/1050072/a_heros_journey_spirited_away.html\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://www.associatedcontent.com/article/1050072/a_heros_journey_spirited_away.html</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">? Cat=38&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Examination of some of the more heroic elements of Chihiro. Used for a comparison between eastern and western heroes.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Spirited Away</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Dir. Hayao Miyazaki. 2002. DVD. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>The film itself, a masterpiece.</em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">\"Spirited Away (Sen to Chihiro No Kamikakushi) - Rotten Tomatoes.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Movies | Movie Trailers | Reviews - Rotten Tomatoes</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 17 Nov. 2011. &lt;http://www.rottentomatoes.com/m/spirited_away/&gt;. </span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>Critical reception of the film. Used for how the film was and is received. </em></span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">Suzuki, Ayumi. \"A Nightmare of Capitalist Japan: \"Spirited Away\" by Ayumi Suzuki.\" </span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>JCsplash</em></span></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">. Web. 17 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http://www.ejumpcut.org/archive/jc51.2009/SpiritedAway/index.html\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">http://www.ejumpcut.org/archive/jc51.2009/SpiritedAway/index.html</span></span></a></span></span><span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\">&gt;.</span></span></span>\r\n\r\n<span style=\"color: #000000;\"><span style=\"font-family: \'Times New Roman\', Times;\"><span style=\"font-size: small;\"><em>A good article on the thematic elements of the film, more related to breaking away from Western influence. Used more of a guide to steer me away from getting “righteous” about it.</em></span></span></span>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif;\"><span style=\"font-size: small;\"><!--more--></span></span></p>','Miyazaki\'s Treasure: Spirited Away, A Love Eternal','','inherit','open','open','','2158-revision-3','','','2011-11-23 14:22:25','2011-11-23 20:22:25','',2158,'http://jeanatacc.com/2011/?p=2161',0,'revision','',0),(2160,1,'2011-11-22 22:05:18','2011-11-23 04:05:18','Miyazaki\'s Treasure: Spirited Away, A Love Eternal\r\n\r\n<a href=\"http://media.animewallpapers.com/wallpapers/spirited/spirited_4_640.jpg?m=1306731585\"><img class=\"alignnone\" src=\"http://media.animewallpapers.com/wallpapers/spirited/spirited_4_640.jpg?m=1306731585\" alt=\"\" width=\"640\" height=\"480\" /></a>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">It is definitely no secret that the popularity and general acceptance of various forms of film has risen in more recent years, and one of the best examples on a global scale is the film from Hayao Miyazaki, Spirited Away. Released as </span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Sen to Chihiro no </em></span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://en.wikipedia.org/wiki/Kamikakushi\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Kamikakushi</em></span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">, or \"The Mysterious Disappearance of Sen and Chihiro\"</span></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">in 2001, it immediately broke the international boundaries and was showcased world wide. It has since had many DVD releases and various language recordings and keeps it place amongst the greatest animated films of all time. This was in no small part due to the classic elements of Japanese folklore told through a new medium, using amazing techniques and execution. As it is one of the quintessential examples of Japanese cinema and its message of unconditional, familial love told with astonishing color and vibrancy definitely earn Spirited Away a slot for preservation.</span></span></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Rising to fame as “Miyazaki\'s best work” Spirited Away began simply as a tale for “young friends (Suzuki) .” Miyazaki considered what a little girl held dear to her, and with that thought alone, shed off the ideas of crushes and romanticism. He knew that a family was the most important aspect of their life.</span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> The story revolves around the 10 year old, Chihiro, who is moving to a new city, away from all of her friends. Her family decides to take a stop at what appears to be an abandoned amusement park. Through a series of magical events, Chihiro is set to the task of rescuing her parents from the Witch who runs a spirit-realm bath house. Chihiro trades her name for the ability to work in the bath house and meets a boy, Haku with whom she feels a strange connection. Chihiro works her time in the bath house, but must take on the quest of returning the stolen son of the Witch that has her parents in exchange for their return. Upon completing this task, she is granted her name again and leaves the park with her parents. </span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Now, this is quite the shortened version of the tale, and I highly encourage everyone to watch. The emotion cannot be captured at all by that of a paragraph. Miyazaki uses the events and scenes perfectly to depict the passage of time in such a way that you truly feel for Chihiro\'s plight more and more with each day she remains working.</span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Spirited away broke the mold in many ways, but also had some similarities to the rest of its time. It was most assuredly one of the first Anime films to break out of the culture of Japan and into the mainstream for other countries, but even with that, we can see some elements of the time present in the film. We see elements of classic cultural folk stories retold for a brand new audience, a trend that was actually gaining popularity world wide. (Lu) Disney had been doing it for years with their classics and remakes, and we even had many new live action films revisiting old stories. Digital animation was gaining serious ground and Spirited Away was at the forefront of that movement. Using CG cells to animate was a way that artists could focus on incredible detail and beauty without needing to devote the time to the intricacies required by good animation. Specific to Japanese cinema, we see a distinct lack of “reluctant heroism” that has become so popular with Western Cinema. Chihiro simply understands her duty and does it, without complaint or whining about the unfair nature of it. </span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> This is also a key difference, and one of the reasons the film is so special amongst international audiences. Instead of having a masculine or sexualized female lead that has been burdened with the “curse of awesome” ( Tv Tropes) and must fight to save the world, we have a just a girl. Chihiro has no super powers or special abilities, she just knows what she needs to do to save her family and does this with barely a whimper, even when alone in another world. Even though CG animation and digital techniques were being used, Spirited away also stood apart from the rest in its level of detail and specialization. The use of color and scenery, even in background elements is incredible and intense. Instead of simply animating the action and drawing all focus to a central point, a common technique in cinema, Spirited Away has vast scenes and landscapes that can be absorbed and reflected on. We also see a step away from the romantic love between lead characters. Chihiro is not burdened by a crush or a soul mate, but driven by an unconditional love for her family.(Crow) Most films of the time, especially in Western Cinema contained elements of romance and love, even when about younger characters. It is very representative of the differences in culture, where one values family over self, especially when it comes to love. </span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> As evidenced by its immediate globalization, the initial reception was completely positive. I have looked very hard for a negative review from any reputable source and they simply cannot be found. Audiences, critics and other artists saw the beauty of the film right off the bat, and it was a resounding success, monetarily and artistically. This combination is not often found among film, and most films that have attained artistic credibility along with a decent dollar total did one long after the other, and most of those follow the trend of the former leading the way. Spirited Away came out in an age of the internet and reviews being widespread, and this simply helped it along to a great degree. The flurry of positive reviews, being backed by a community of people who had seen and loved the film, kept pushing it forward into what many people consider “Classic” status. (Tomatoes)</span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> This is still true today. As stated earlier, the film has had numerous releases and continues to sell DVDs, soundtracks, art books, figures and nearly any form of media remotely related to the work. It has been rated 9</span></span><sup><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">th</span></span></sup><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> and 10</span></span><sup><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">th</span></span></sup><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> in two separate “Top 100 Films” lists and has received the award for “Best Animated Film” from several different agencies (Tomatoes). Having been around for 10 years now, we are seeing this be a film that parents are showing their children as one of the films that influenced their lives. It has been hailed as a new Bambi or Wizard of Oz, a film that a child simply must see to understand the beauty and previous generations. The age of the film has also given time for many people to look into some of the deeper connections that it offers, to an era long past. Being able to leap frog back to a time when animation was still relatively new, we can see the true importance of the things selected to be in the movie. This was not a summer Hollywood blockbuster intended to make money, but a story that was supposed to show strength and love. Being able to see that, now, after so many other films have come out, we can also see the messages about older times that Miyazaki wished to communicate. </span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Finding a comparison for this film was rather difficult for me. I was considering several different options, because it would have been easy to find something that was quite the opposite of the elements presented in Spirited Away. I settled with looking at Late Spring, a Black and White film from the Japanese director Ozu. The story is of an aging professor and his daughter who cares for him, and the pivotal moment of their relationship where she must marry and leave him to face the remainder of the world alone. Immediately we see some very contrasting stylistic differences between the pieces. Late Spring is incredibly minimal, and focuses heavily of the characters and their reactions and expressions, an artistic format granted by live film. Spirited Away is a tale of beauty, and thus the environments of the film are all beautiful and majestic. Both films achieve a similar goal however, using the very different techniques. The lush beauty of scenery, and the stark lack of environment both serve to enhance the audience\'s connections to the characters. (Lu) It is very interesting to watch these films back to back, and accept that the level of emotion drawn out by each is remarkably similar. Spirited Away also uses a very minimal form of dialogue, digging things to deeper than their core, and making the audience learn about the characters by making assumptions about them. Late Spring uses a less minimal form of dialogue, but one never has to make any assumptions. The characters are brief in their words, but everything is said exactly how it is meant to be heard.</span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> The two films however, share a likeness that is truly wonderful. Both films focus on familial love, an unconditional love that displays the power and sacrifice one person can experience through this love. Both have an element of connection to someone other than the family, but these relationships only serve to enhance the familial connections that our leads experience. In both of these films, international audiences can see a picture of love and strength that is not normally present in film.</span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Spirited Away is one of my favorite films ever released, as I am sure is obvious. I was 14 when I saw the film, merely two weeks after it released in Japan. A theater in Austin had two of their employees translate the film and began airing it with the permission of Studio Ghibli, the production company. Seeing this film was very amazing for me, I realized I was making a role-model out of a 10 year old girl. This film was so different than anything I had ever seen, and made me reconsider many of the ways I saw the world and my relationships.</span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Spirited Away is one of the best depictions of the priorities of an entirely unique culture. Much of what will be preserved in the time capsules will be of a European or Western lineage, and Spirited Away is one of the best ways to show the other side of the same coin. Humanity has multiple forms of love, and the unconditional, familial type of life, shown with wondrous color and style that we get from Spirited Away is amazing and powerful. A story of a girl, whose strength is only from herself and love, landscapes and scenes that take the breath away, characters that embody the human condition entirely. This piece of film should be preserved to teach future generations about the capabilities of a person without any elements of the classic hero, someone who is only driven by something more for their family.</span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"CENTER\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Works Cited</span></span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Crow, The. \"Spirited Away: Film Review &amp; Analysis.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Associated Content from Yahoo! - Associatedcontent.com</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.associatedcontent.com/article/2604687/spirited_away_film_review_analysis.html\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">http://www.associatedcontent.com/article/2604687/spirited_away_film_review_analysis.html</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">? Cat=40&gt;.</span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A very good analysis of the film, done by a student for a similar project. A summary as well as some insight into the preservation perspective. I used this considering how to phrase my own thoughts.</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">\"Cursed with Awesome - Television Tropes &amp; Idioms.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Home Page - Television Tropes &amp; Idioms</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Web. 18 Nov. 2011. &lt;http://tvtropes.org/pmwiki/pmwiki.php/Main/CursedWithAwesome&gt;. </span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Article on the common tropes of heroism in Western Film and art. Helped differentiate between the two cultures.</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">\"Elements in Spirited Away by *tenshichild on DeviantART.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Tenshichild on DeviantART</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://tenshichild.deviantart.com/art/Elements-in-Spirited-Away-194112988\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">http://tenshichild.deviantart.com/art/Elements-in-Spirited-Away-194112988</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A brief analysis of some of the elements and older themes present in the film. Used to grab some of the thematic information.</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">\"Film Analysis - Spirited Away.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Global Anime</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Web. 17 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://bountyhuntr3.tripod.com/id11.html\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">http://bountyhuntr3.tripod.com/id11.html</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Another brief analysis, by a student. Very good for understanding an Eastern perspective on the film.</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Late Spring</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Dir. Ozu. 2010. DVD. </span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Film used for comparison. Absolutely amazing,</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Lu, Alvin, and Hayao Miyazaki. </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>The Art of Miyazaki\'s Spirited Away</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. San Francisco, CA: Viz Communications, 2002. Print. </span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A fantastic commentary and explanation of the art used in the film. Used for much of my arguments based on artistic value.</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Saporito, Jeff. \"A Hero\'s Journey: Spirited Away.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Associated Content from Yahoo! - Associatedcontent.com</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Web. 18 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.associatedcontent.com/article/1050072/a_heros_journey_spirited_away.html\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">http://www.associatedcontent.com/article/1050072/a_heros_journey_spirited_away.html</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">? Cat=38&gt;.</span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Examination of some of the more heroic elements of Chihiro. Used for a comparison between eastern and western heroes.</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Spirited Away</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Dir. Hayao Miyazaki. 2002. DVD. </span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>The film itself, a masterpiece.</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">\"Spirited Away (Sen to Chihiro No Kamikakushi) - Rotten Tomatoes.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Movies | Movie Trailers | Reviews - Rotten Tomatoes</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Web. 17 Nov. 2011. &lt;http://www.rottentomatoes.com/m/spirited_away/&gt;. </span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Critical reception of the film. Used for how the film was and is received. </em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Suzuki, Ayumi. \"A Nightmare of Capitalist Japan: \"Spirited Away\" by Ayumi Suzuki.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>JCsplash</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">. Web. 17 Nov. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.ejumpcut.org/archive/jc51.2009/SpiritedAway/index.html\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">http://www.ejumpcut.org/archive/jc51.2009/SpiritedAway/index.html</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A good article on the thematic elements of the film, more related to breaking away from Western influence. Used more of a guide to steer me away from getting “righteous” about it.</em></span></span></span>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><!--more--></span></span></p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>','Miyazaki\'s Treasure: Spirited Away, A Love Eternal','','inherit','open','open','','2158-revision-2','','','2011-11-22 22:05:18','2011-11-23 04:05:18','',2158,'http://jeanatacc.com/2011/?p=2160',0,'revision','',0),(2162,1,'2011-11-21 13:57:49','2011-11-21 19:57:49','<a href=\"http://www.youtube.com/watch?v=pkWWWKKA8jY\">Princess Mononoke Trailer On Youtube</a>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://3.bp.blogspot.com/-QlAxW52LjXA/TZHsaLEnN1I/AAAAAAAAA0Q/F6S_mU5qq94/s1600/princess+mononoke.jpg\"><img class=\"aligncenter\" src=\"http://3.bp.blogspot.com/-QlAxW52LjXA/TZHsaLEnN1I/AAAAAAAAA0Q/F6S_mU5qq94/s1600/princess+mononoke.jpg\" alt=\"\" width=\"600\" height=\"400\" /></a>\r\n\r\n<a href=\"http://3.bp.blogspot.com/-QlAxW52LjXA/TZHsaLEnN1I/AAAAAAAAA0Q/F6S_mU5qq94/s1600/princess+mononoke.jpg\">http://3.bp.blogspot.com/-QlAxW52LjXA/TZHsaLEnN1I/AAAAAAAAA0Q/F6S_mU5qq94/s1600/princess+mononoke.jpg</a>\r\n\r\nEven though it is perhaps not the most lauded work of Hayao\r\nMiyazaki, the movie Princess Mononoke is still a classic worth\r\npreserving. Released in 1997, this movie focuses on the story of\r\nAshitaka, a young prince who has fallen under a curse that will kill\r\nhim unless he finds a way to remove it. This quest leads Ashitaka to\r\ntravel to the distant forest where the Forest God lives in hopes of\r\nfinding someone or something that can help him. Along the way he meets\r\na mercenary priest who wants to kill the Forest God and claim the\r\nreward money offered for the spirit\'s head, as well as a small colony\r\nof iron workers, who are waging war against the forest animals in an\r\neffort to get at the rich natural resources beneath the forest. Caught\r\nup in the fighting Ashitaka falls in love with the human girl, San,\r\nwho was raised by the wolves of the forest, and must find a way to\r\nsave not only himself, but San and the Forest God as well. With it\'s\r\nbrilliant animation and a message that allows for a wide cross-culture\r\nappeal, Princess Mononoke is without a doubt a work that should be\r\npreserved for future generations.<!--more-->\r\n\r\nPrincess Mononoke was released in 1997, following closely on the\r\nheels of the cartoon series Captain Planet, which ran from 1990 to\r\n1996. Like many of Hayo Miyazaki\'s films, Princess Mononoke deals\r\nheavily with the relation of human beings to the planet, and the\r\nimpact that industrialization has on nature. One of the main themes is\r\nthe damage that people can do to the environment, which is also a main\r\nfocus of the animated series Captain Planet. “Captain Planet...[is]\r\nsymbolic of a contradictory environmental ethic that seeks to improve\r\nthe planet and maintain existing social relations, ( King.)” In a\r\ndirect correlation to the sudden fascination with the environmentalist\r\nmovement that was taking place in western culture, Miyazaki\'s films\r\nplace great importance on the,”transformation and reinvigoration of\r\nthe tenets of Shintoism and local mythology...For example, a\r\nnon-Japanese audience viewing Princess Mononoke can clearly read the\r\nsymbolic beheading of the spirit of the forest in terms of globally\r\ncirculating narratives of environmental destruction, whereas a\r\nJapanese audience are also likely to simultaneously engage here with\r\nspeciﬁc allusions to kami, or gods, and Shintoist tenets of respecting\r\nand communing with nature’s deities, (Wright.)“ So it can be said that\r\nPrincess Mononoke is a typical work of the times for both Japan and\r\nAmerica. The themes of environmentalism would be familiar for either\r\nculture, and the idea of an animated film or series that highlighted\r\nsuch themes would be especially appropriate for America, since such\r\nthings were already mainstream. Following the first Gulf War in the\r\nearly 1990\'s, the secondary message of peace and learning to live\r\ntogether – not just in terms of humans and nature, but also in terms\r\nof humans and other humans – would have been especially well received.\r\nPrincess Mononoke was also squarely in the height of the Japanese\r\nanimation craze that was hitting America following the appearance of\r\nthe acclaimed Vampire Hunter D ( 1985 ) and Akira ( 1988. ) Such\r\nseries as Sailor Moon ( 1995-2000 ) and Dragon Ball Z ( 1989-2003 )\r\nwere also extremely popular at this time in America as well as\r\noverseas.\r\n\r\nWhat sets Princess Mononoke apart from this trend is the sheer\r\npopularity that the film enjoyed. It “eclipsed Steven Spielberg’s E.T.\r\nto create a new domestic box-ofﬁce record, only to be nudged out by\r\nJames Cameron’s Titanic in the same year (Wright.)” This may be due to\r\nthe fact that although computer generated images, also known as CGI,\r\nwere just beginning to take off during the mid-to-late nineties, the\r\nstudio responsible for producing the fantastical films of Miyazaki\r\nfirmly stood their ground and continued to animate by hand rather than\r\nrelying on computers. This hand animating is what gives Miyazaki\'s\r\nartwork much of its unique look and broad appeal. Miyazaki was also a\r\nfore-runner in the tradition of creating Japanese works of art – be it\r\ngames or film – that showcased characters stripped of anything that\r\nwould identify them as being strictly Japanese. This removal of the\r\nnative culture from their products has been given much of the credit\r\nfor the wild popularity of Japanese games and film. “Japan’s recent\r\ncultural expansion is premised on a strategy of blurring distinctively\r\nJapanese attributes of exports to create ‘culturally odourless\r\nproducts’. In particular, animation and game software destined for\r\nexport are prone to mu-kokuseki—the erasure of racial and ethnic\r\ncharacteristics and any context that would embed a speciﬁc culture or\r\ncountry, (Wright.)” When it really comes down to it, though, there is\r\nreally no single explanation why the works of Miyazaki, and Princess\r\nMononoke in particular, stand out from the other works of this period.\r\nLooking at other anime, there are many films and series that\r\nincorporate the same idea of being culturally non-specific to Japan.\r\nAmerican cartoons were extolling some of the same virtues about\r\ncoexisting and environmental importance, but never came close to\r\napproaching the popularity of Miyazaki\'s works. The majority of the\r\nanimated works at this time were still hand drawn, with the boom of\r\ncomputer animation coming later, burgeoning in the beginning of the\r\n2000\'s. It may be that the success of Princess Mononoke lies in the\r\ncombination of the beautiful hand-drawn art, and the way in which\r\nMiyazaki incorporated Japanese folk lore and themes into a film that\r\nis still culturally ambiguous enough to reach a wider audience.\r\nCertainly no other film had brought these aspects together in such a\r\nway prior.\r\n\r\nRealizing that Princess Mononoke edged out the blockbuster E.T.,\r\nit should not be surprising that it was hailed as an almost instant\r\nclassic. “Virtually every frame is alive to this movement, and\r\nastounds with its natural talent and imagination,(Aoun.)” Another\r\ncritic, cited in Aoun\'s article, raves that it is,”the Star Wars of\r\nanimation.” It almost seems as if the critics are strangely,\r\nunanimously in agreement with audiences in regards to this film, which\r\nis a favorite of both young and old. Since it has only been a meager\r\nfourteen years since the release of Princess Mononoke, there doesn\'t\r\nexist much of an ability to compare the thoughts on it in the present\r\nand what might be considered of it in the future. Only time will tell\r\nif this masterpiece has the ability to remain a timeless classic, but\r\nit has aged well, and continues to be a perennial example of\r\nMiyazaki\'s ability to delight movie-goers.\r\n\r\nMy personal reaction to this movie was very strong. It was one of\r\nthe first films by Miyazaki that was introduced to me, and remains\r\ndeeply embedded in my mind even to this day. Despite the amazing and\r\nfantastical ability of the animation team and director to create\r\ncaptivating movies, Princess Mononoke is the most hauntingly beautiful\r\nof the many that I have seen. Miyazaki delights in providing a strong\r\nfemale lead to follow, and this habit of his plays out well in the\r\nconflict between San – the Princess Mononoke figure – and her nemesis,\r\nLady Eboshi, the founder of Irontown. Prince Ashitaka also provides a\r\npositive male moral role model, nicely covering the bases for any\r\ngender of child to be able to find a character worth identifying with.\r\nPerhaps the most interesting thing that I discovered in the course of\r\nresearching was that Billy Bob Thorton plays one of the voice roles in\r\nthe movie, something that I found rather comical given that the bulk\r\nof his work is far from appropriate for a young audience.\r\n\r\nWhen finding a work worthy of comparing to Princess Mononoke, it\r\nwas difficult to settle on a single comparison. There exists a breadth\r\nof both Japanese animation and American animation available to stand\r\nagainst Princess Mononoke, but because of the unique quality of\r\nMiyazaki\'s work, it seemed unfair to lump it into either category\r\nspecifically. For this reason I have chosen to make two comparisons.\r\nTo begin with, it seems most appropriate to hold Princess Mononoke up\r\nagainst one of the more popular Japanese animated movies of the time,\r\nVampire Hunter D. Even though a person who has seen both of these\r\nmovies might disagree at first glance, there are actually many\r\nsimilarities between the two. Princess Mononoke incorporates many of\r\nthe same organic shapes and movements, especially when contrasting the\r\n\'demonic\' presence that comes with Ashitaka\'s curse and the demonic\r\ncreatures that are encountered in Vampire Hunter D. Also similar to\r\nPrincess Mononoke is the way in which the characters in Vampire Hunter\r\nD do not have a specifically Japanese appearance. The main male\r\ncharacter, D, looks European. He is tall, with pale skin. The main\r\nfemale character is blonde. Not the only blonde, in fact, as the son\r\nof the town\'s mayor is also fair skinned, with oval eyes and golden\r\nhair. Both movies feature supernatural characters as well as human.\r\nThese shared traits are often over-looked due to the stark difference\r\nin target audience between the two films. Vampire Hunter D contains\r\ngraphic violence and even nudity, making it less than appropriate for\r\nchildren. Despite being animated, it was meant for adults, and this\r\nshows through in the content. Princess Mononoke was meant to be\r\nenjoyed by both children and adults, but the violent content it\r\ncontains ( another trait it shares with most Japanese animation )\r\nnetted it a rating of M-15, meaning that it was unsuitable for\r\nchildren under the age of fifteen.\r\n\r\nTo show the reverse side of American animation in comparison to\r\nPrincess Mononoke, it seemed most feasible to find an extreme of\r\nAmerican animation. Something contemporary and computer animated to\r\nprovide the best contrast between the work of Miyazaki and the works\r\ndone by his peers. For this reason Finding Nemo stands out as the best\r\nexample of American animation to stand against Princess Mononoke.\r\nFinding Nemo was released in 2003 by Pixar studios in collusion with\r\nWalt Disney. Disney is also responsible for bringing the works of\r\nMiyazaki to America, which makes the comparison almost too perfect.\r\n“According to director/founder John Lasseter, Pixar’s ‘most\r\ninspirational ﬁlms’ are ‘the animated ﬁlms of Hayao Miyazaki and the\r\nStudio Ghibli’ and what inspires them is ‘the sense of heart and\r\ncharacter, the use of scale, the brilliant staging and timing of\r\naction and humor, the simplicity and beauty of the effects and mostly\r\nthe imagination, (Aoun.)” Ironically, Pixar has been on the cutting\r\nedge of computer generated animation almost since it was begun, while\r\nStudio Ghibli remains steadfast in its determination to do most of the\r\nanimation in their films by hand. Finding Nemo is probably one of the\r\nmore famous incarnations of this computer animation, and interestingly\r\nenough, deals with some of the same environmental issues that Princess\r\nMononoke touches on. Finding Nemo focuses on the exotic fish trade,\r\ncasting it in a somewhat negative light ( Nemo is \'stolen\' from his\r\nfamily to supply an aquarium. ) Although the film\'s creators tried to\r\ndiscourage people from buying exotic fish with their movie, it instead\r\nled to a massive boom in clown fish sales, creating yet another\r\ncontrast with Princess Mononoke in that Miyazaki\'s film perhaps had\r\nmore realistic goals with its moralizing. The animation styles for the\r\ntwo movies are, of course, as different as night and day, and the\r\nmaturity level of the story also seems to have a huge difference\r\nbetween the two. Finding Nemo is a gentle comedy, awarded a G rating,\r\nthe mildest of all available. For violent content, Princess Mononoke\r\nbeing put alongside Finding Nemo is much like putting Princess\r\nMononoke alongside Vampire Hunter D. Which just goes to illustrate how\r\ndelicately balanced between the world of American animation and the\r\nworld of Japanese animation Princess Mononoke really is.\r\n\r\nThis work should definitely be preserved for the future, not only\r\nbecause of the amazing animation quality and the imaginative vision\r\nthat backs up the impressive art, but also for the morality and\r\nmessage of the story that is presented by Hayao Miyazaki. The story is\r\none of revenge, betrayal, and ultimately forgiveness. Princess\r\nMononoke provides an excellent example of the differences – and the\r\nsimilarities – between American and Japanese animation, and will\r\nlikely remain one of the better examples for a very long time to come.\r\n\r\nWorks Cited\r\n\r\nKing, Donna Lee. \"CAPTAIN PLANET AND THE PLANETEERS: Kids,\r\nEnvironmental Crisis, And Competing Narratives Of The New World\r\nOrder.\" Sociological Quarterly 35.1 (1994): 103-120. Academic Search\r\nComplete. Web. 20 Nov. 2011.\r\n\r\nWright, LucyClode, Jerry. \"The Animated Worlds Of Hayao Miyazaki.\"\r\nMetro 143 (2005): 46. MasterFILE Premier. Web. 20 Nov. 2011.\r\n\r\nAoun, Steven. \"Film Of The Quarter: Princess Mononoke.\" Metro 143\r\n(2005): 171. MasterFILE Premier. Web. 20 Nov. 2011.\r\n\r\nMurphy, Joseph. \"Anime: From Akira To Princess Mononoke: Experiencing\r\nContemporary Japanese Animation.\" Philosophy East &amp; West56.3 (2006):\r\n493. MasterFILE Premier. Web. 20 Nov. 2011.','Princess Mononoke -- Pixar\'s Inspiration','','inherit','open','open','','2087-revision-5','','','2011-11-21 13:57:49','2011-11-21 19:57:49','',2087,'http://jeanatacc.com/2011/?p=2162',0,'revision','',0),(2177,47,'2011-12-02 09:49:03','2011-12-02 15:49:03','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/12/fp-pic.jpg\"><img class=\"aligncenter size-medium wp-image-2180\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/12/fp-pic-300x230.jpg\" alt=\"\" width=\"300\" height=\"230\" /></a></p>\r\n<p style=\"text-align: center;\">Uniqueness\r\nBy James J Schlenker</p>\r\n<p style=\"text-align: left;\">The arts that I have chosen to take aboard the ship were selected to inspire future generation. I will display these works of art in a museum aboard the ship, and will promote my art for all the members aboard the ship to enjoy. These works of art will be part of my personal collection that I have brought aboard the ship to share with the purpose of preserving human inspiration among the crew of the ship.  The name and theme of the collection that I will be displaying will be “Uniqueness.”<!--more-->\r\nI will display my collection in the following way. First will be an introduction to the collection that I will be presenting in a gallery aboard a ship. This introduction will serve as an invitation posted on a pamphlet for all members aboard the ship and to instruct them on what will be displayed. Second, the room I will design in the gallery will be limited of space because of the tight quarters of a ship. Therefore, I will design a room that will give the impression of limitless space. I will display my art with the most original works unless limited by space. Third, I will describe the historic and inspirational factors of my work on plaques that will be displayed in the room with the art.</p>\r\n<p style=\"text-align: center;\">(Pamphlet)\r\nUniqueness\r\nFrom The Schlenker Collection of Art of Earth</p>\r\n<p style=\"text-align: left;\">The Human Galactic Gallery is proud to present Uniqueness, a collection from the James Schlenker Art of Earth from the 17th century to the 20th century. Each art represented at the gallery is considered unique of its era and will be preserved in our galactic gallery for the inspiration of our future generation.  Uniqueness is a demonstration of original works of art that serve to inspire future generations to be unique in their creation. The works of art to be displayed will be limited to Don Quixote, The Taj Mahal, The Paris Exposition film 1900, and Sgt. Pepper\'s Lonely Hearts Club Band. The collection will be presented in one of our rooms aboard the ship.</p>\r\n<p style=\"text-align: center;\">(The Room)</p>\r\n<p style=\"text-align: left;\">On the outside wall of the room there will be posted the name, “Uniqueness a Schlenker collection of art of Earth.” The inside of the room will be made to demonstrate limitless space for the audience to feel tranquility and for the display to seem vast as they may be models or replicas that will not be of the same size. This limitless space will be accomplished by creating an optical illusion, by painting the room white and positioning the lighting in order for the audience to see a limitless white space with no contours of the corners and floor. The arts represented will seem to be gliding on the limitless space but they will be positioned on the walls limiting the audience to follow the path around the displays.</p>\r\n<p style=\"text-align: left;\">The entrances will be on the left front corner of the room in order to give each display a wall for presentation. Inside the room there will be a path to walk; it will be a route of chronological order around the displays to ensure a steady flow of traffic. The room will be separated by an imitation of the garden of the Taj Mahal with the fountain leading towards the Mausoleum. The garden and fountain will be on the center of the room making the chronological route around the gardens.  Following the entrance route there will be Don Quixote on the left side of the room, on the back side the Taj Mahal, on the right side the Paris Exposition film 1900, and on the front of the room Sgt. Pepper\'s Lonely Hearts Club Band.</p>\r\n<p style=\"text-align: left;\">Each art will be displayed as following. Don Quixote will be displayed with three original books, the first book will be a first edition in Spanish which will be off limits for people not to open, the second and third book will be translations for the audience to open and read. Above the books there will be a portrait of Miguel De Cervantes; beside there will be the original Picasso of Don Quixote, and an introductory picture of the cover of Don Quixote. The Taj Mahal will be the greatest display of all as it is the largest of all and it will be displayed as a model because of its immense size. Although the Taj Mahal will be setup from models, there will also be originals parts to be displayed. As seen from the front of the room the garden and the Mausoleum will be models but around the Mausoleum there will be original parts of the design of the walls with the beautiful inlayed rock work. When seen from the front, the lighting and the pool will create the same effect of a floating Mausoleum to give more originality to our model. The Paris exposition film 1900 will be presented with pictures of Edison and the Kinetograph. The film itself will be playing on a monitor on the right side of the room for the audience to enjoy while viewing the pictures. Last but not least, Sgt. Pepper\'s Lonely Hearts Club Band will be presented as the final chronological order of display. There will be pictures of the Beatles with their costume of Sgt. Pepper\'s Lonely Hearts Club Band and the album will be playing on the background of the entire room as it will not disturb the film or the other displays. The garden with the fountain in the middle will be made for people to sit while viewing the displays without disturbing the chronological route, and it will serve as a space of tranquility for the members of the ship to relax</p>\r\n<p style=\"text-align: center;\">(The Plaques)\r\n(Don Quixote)</p>\r\n<p style=\"text-align: left;\">Don Quijote De La Mancha (1605)\r\nBy Miguel De Cervantes (1547-1616)</p>\r\nDon Quijote de la Mancha is the first of its style and one of the first to mark the beginning of renaissance literature in Western Europe. Cervantes manage to write this entertaining novel that veer away from the usual medieval romantic literature and used Don Quixote as a figure that mock the romantic medieval knight.\r\n\r\nIn 1605 Miguel de Cervantes, after a disappointing literary career, convinces a printer to publish his novel. “Don Quixote” is the story of a gentleman called Quejana that owns a bookstore filled with chivalric romances. After becoming more and more submerged in the stories of knights and quests, Signor Quejana makes an illusive world in which he becomes Don Quixote, a knight, who has come to fight evil, and restore the world to the Golden age. Don Quixote with his trusted side kick, Sancho Panza, set out to fight giants which are actually windmills and armies that actually are flocks of sheep.\r\n\r\nThe insightful novel of the human mind created by Cervantes is an innovation of its era, as More’s Utopia which reflected individualism and Shakespeare searching for what makes us human. Although, Spain remained in a society which reflected medieval values, wealth was changing its social classes, and Spain was on the verge of a modern world. For Cervantes this was the perfect setting to use his modern novel to criticize the romantic medieval values instilled on Spain. Don Quixote was not typical of its era; it was an innovation of its era to change the values of a country.\r\n\r\nThis work merits the title of unique because it was a change from the usual and brought new values which would set standards for future writers. This literature will entertain future generations and it is important to preserve for the inspiration of originality for our society.\r\n<p style=\"text-align: center;\">(Taj Mahal)</p>\r\nThe Taj Mahal(1647)\r\nMughal Emperor Shah Jahan(1592-1666)\r\n\r\nKnown as Tadj Mahall, was symbol of love that was built by the Mughal emperor Shah Jahan in memory of his wife Mumtaz Mahal during the 17th century. With the immense power and wealth, it became tradition for Mughal emperors to demonstrate their power with palaces and art. It is from this era that the English word mogul was created, as someone that has much power and wealth. The Taj Mahal took over 20,000 workers under the chief architect Ahmad Lahawri. Construction started in 1632 and was finalized by 1647.\r\n\r\nShah Jahan intended to build another palace across the river connecting it by a bridge to the Taj Mahal. The idea was that the Taj Mahal would be the tomb of his wife and the second building would be the tomb of Shah Jahan. But, Shah Jahan was deposed by his son Aurangzed, and the plans were never completed but the Taj Mahal remained to show its beauty.\r\n\r\nThe Taj Mahal is made of marble which changes colors depending of the time of the day. The Taj also depicts geometric figures but as piedra dura, which is a style of inlaying precious stones. These stones represent inscriptions from the Quran and designs of flowers and plants. The Taj Mahal also uses the tree line pool to create an illusion that the mausoleum is floating. During the nineteenth century the Taj Mahal became a favored picnic site between colonial Englishmen, who thought of the place as a romantic monument rather than a tomb. The iconicity that the Englishmen gave to the Taj Mahal became popular culture around the world and it was seen as a symbol for love and Hindu culture.\r\n\r\nThe Taj Mahal is a monument of love that has not been surpassed by any other palace of its origin; it is unique for the period, and original in detail to its style. It is for this reason that Taj Mahal deserves to be part of the Uniqueness collection. It depicts the power of love in earth and will inspire the future of humanity to push forward for what they love.\r\n<p style=\"text-align: center;\">(Paris Exposition Film 1900)</p>\r\nParis Exposition Film 1900\r\nEdison’s lab\r\n\r\nThe Paris exposition filmed by James H. White and produced by Edison’s labs was an innovation of its time as technologies arose around the film industries. The Paris Exposition Universelle was the world fair and a very popular time for new inventors and technologies to be presented and became the perfect scenario for a film. What makes the film unique was the use of a spherical motion camera which was able to capture the Eiffel tower from bottom to top and to move around scenes by pivoting on its position which presented an illusion of motion. The film was able to capture life in Paris and it’s most marketed and important scene of the Eiffel tower.\r\n\r\nFilms had been a dream for many at the end of the 19th century but it arose mainly as an implement to the phonograph. Edison did not invent films but only perfected them. The optical illusion of moving images that was created as they where painted in a rotating disk as kids toys in the early 19th century, and then became the foundation of films. Edison envisioned the idea of a “home-theater machine” like a television in modern times. In 1888 Edison hired William Laurie Dickson to develop such a device that would accompany the phonograph and therefore create a machine that could play sound and motion picture. Although, the kinetograph was created by Dickson but the implementation of sound was difficult to synchronize with the movie.\r\n\r\nThe exposition was a thing of the future with new technologies and arts; it was a time where Paris would be filled with tourist from all around the world for the event and a perfect scene for a movie. Edison exploited this marked as he quickly manage to send a team lead by James White for the 1900 exposition to take films of the event with a new kinetograph which featured an spherical that gave the films a uniqueness of motion as the kinetograph did not stay stationary but could move up and down and to the sides. It was the perfect time to capture the images of the exposition including the Eiffel tower and to display the new technology.\r\n\r\nThese films may be unknown for many but it is important to realize their uniqueness as they represent beginning of all great films, and deserves to be part of the collection as they will inspire the members of this ship to create innovations for the future.\r\n<p style=\"text-align: center;\">(The Beatles)</p>\r\nSgt. Pepper\'s Lonely Hearts Club Band (1967)\r\nThe Beatles\r\n\r\nIn the mist of harsh time a new musical band, the Beatles, spur to cheer up the world. It was the 60’s; the Beatles captivated the world with their charismatic performance and their new style of music and personal appearance. They became the musical leaders of an era and the symbol of a movement in search of peace. Sgt. Pepper\'s Lonely Hearts Club Band was one of the last albums made by the Beatles and one of the most influential because it was aimed toward the movement by which they became a symbol.\r\n\r\nThe Beatles started their career as young musician in Liverpool England but obtained their education as musician and performer in Hamburg Germany, where they would play in a bar for American soldiers.  In Germany the Beatles they found their style after playing song from artist that inspire them like Chuck Berry, Little Richard, Fats Domino, Elvis Presley, the Everly Brothers, Buddy Holly. For example, the loud high pitch of Little Richard, the melodic sounds of the Everly brothers, and the fantastic performance of Elvis Presley.\r\n\r\nAfter their return to Liverpool it was obvious the change as musician and soon after the Beatles would become a popular band. With a change to the bands drummer and the tour with Little Richard in England, the Beatles mark the beginning of Beatlemania with members John Lennon, Paul McCartney, George Harrison, Ringo Star. By mid 1960’s The Beatles had control over their public’s style as they began to let their hair grow long and started growing a beard. Between 1963 and 1967 the Beatles released 18 records by which in 1967 Sgt. Pepper\'s Lonely Hearts Club Band was the beginning of their final period but one of their most influential records.\r\n\r\nThe song of Sgt. Pepper\'s Lonely Hearts Club Band introduced the band which in the cover showed the colorful costumes with the faces of many historical figures of the century like Albert Einstein, Edgar Allen Poe and, among many others, Sigmund Freud. It was an introduction toward musical art represented in covers, videos, and even the costumes that the Beatles would wear.  This album became the greatest influence toward a culture against war, in search of peace, and the Beatles became the leading symbol by which the world would remember them.\r\n\r\nTheir music has inspired people all around the world, and their songs were used for peaceful movements.  The Beatles were introduced to the music hall of fame in 1988 and their members John, Paul, and George have all being introduced as single composers.\r\n\r\nTheir music was unique and deserves its part in our gallery as it will display the meaning of being unique in hard times. The music of the Beatles will inspire the members of our ship and the future generations to find their style in whatever they do while it is original and meaningful for all.\r\n<p style=\"text-align: center;\">(Final Plaque on the exit of the Room)</p>\r\nEach display of art seen at this collection are part of history that have shown uniqueness in their times. They are the symbol of originality of our past and made for the inspiration of our future. These arts represent our humanity and should be preserved in order to understand how we came to be. In order to forge further as a human race, we must not forget our past. Be original and unique as each of these artists was in the past.','Uniqueness','','publish','open','open','','uniqueness','','','2011-12-04 11:10:29','2011-12-04 17:10:29','',0,'http://jeanatacc.com/2011/?p=2177',0,'post','',11),(2164,50,'2011-11-23 23:02:01','2011-11-24 05:02:01','Spike Lee’s “Do The Right Thing” (1989) is a dramatic comedy that depicts life on a sunny Brooklyn street were racial tensions are at an all time high. The story is about a young African-American man named Mookie (Spike Lee) who works at the local pizza shop in his neighborhood. The store is owned by Italians but the clientele is largely black which causes for Mookie to feel somewhat stuck in the middle of a race tug of war. He feels like he should do well at work and be a good employee to Sal (<a title=\"Danny Aiello\" href=\"http://en.wikipedia.org/wiki/Danny_Aiello\">Danny Aiello</a>) the man who hired him. But his friends in the black community are constantly telling him to stay black and that he shouldn’t go to work for that racist Italian. At the time of the movie’s release in 1989 there were talks amongst the leaders of the US and the USSR that the cold war would soon be coming to an end. The nation as a whole was in very cautious and suspicious state of mind as we felt a constant threat from the Russians throughout the Cold War. The Cold War ties into the film as it portrays the ignorance that many citizens had about stereotypes and suspicions of other races. This movie deserves preservation for multiple reasons, not only for its astounding award resume, but for the ability of a black director to make a box office movie about racial tension through the eyes of a black man.<!--more-->\r\nDuring a time were racial tensions in America was a new theme as the new nation\r\nlearned how to deal with racial freedom whether it be economically,\r\npolitically, or socially Spike Lee’s “Do The Right Thing” covers all aspects.\r\n\r\nSpike\r\nLee’s “Do The Right Thing” is typical of its era in the sense it’s a box office\r\nmovie with noteworthy actors and is viewed in cinemas until its VHS release. There\r\nare not any major changes in the production of the film, and the fact Spike Lee\r\ndirected and acted in it is a remarkable trait of the film. What is significant\r\nabout this film from its era is that it was one of the first movies to tackle\r\nracism and stereotypes head on. The subject matter was extremely rare at the\r\ntime and the film was reviewed by critics to possibly bring about an uproar of\r\nviolence in the black community. “<em>New York</em> magazine said, ‘Lee appears to be\r\nendorsing the outcome, and if some audiences go wild he\'s partly responsible.’”\r\n(WORLDBIO).\r\n\r\nThe ability for Spike Lee to make a\r\nmovie about race that was unbiased to all races, and to not take sides but just\r\nportray the movie as how things truly are is what makes the movie stand out\r\nfrom its peers. Movies at the time were starting to focus on more controversial\r\ntopics like the film “Black Rain” which focused on the dropping of an atomic\r\nbomb on Hiroshima.\r\nThat movie is seen to have much more of a political motive where as Spike Lee’s\r\ncan’t be thrown into one particular category of having a specific goal to\r\nachieve as it accomplishes so many. The movie has so much cultural context to\r\nit as truly remarks a time in America\r\nwere racism was a rising topic. Blacks had been previously enslaved in America,\r\nand then segregated from white Americans as the laws in the south allowed for\r\nit. Then in later court cases and through influential leaders such as Martin\r\nLuther King and Malcolm X the end of segregation began in the mid 60s. The\r\nblack community was finally in a time were the ever present thoughts of past\r\noppression were starting to fade away. America\r\nhas always had a relaxed immigration policy and the cultural tension between\r\nBlacks and Italians in Brooklyn was a rising\r\nheated topic. Spike Lee does an excellent job of covering the time period in\r\nwhich he was living in as the movie accurately displays how things were at that\r\npoint in time in 1989. Racism was not a common topic in the film industry, let\r\nalone by a black director, where the film industry is dominated white males.\r\n\r\nThe film was one of those extraordinary films\r\nthat no matter who you were when you walked out of the theater you were touched.\r\nWhether it is by the racial tension, the dilemmas faced throughout the film, or\r\nby the sheer quality that was taken into the film and by its cast members and\r\namazing director Spike Lee this film was instant success in the film world. The\r\nfilm is noted for winning numerous awards as a film and through individual\r\nefforts as well. The film is noted for giving film debuts to actors Martin\r\nLawrence and Rosie Perez. The film also has some high profile nominations to\r\nits name. According to IMDB the film was nominated for 4 Golden Globe awards\r\nand also for 2 Oscar Awards. It also won awards from Chicago,\r\nLos Angeles, New York\r\nand Boston’s\r\nfilm critics’ awards committee. (IMDB) Critics of the movie were expecting for\r\na violent reaction form the black community to the film, but there wasn’t\r\nanything like that to note of. Through the nominations and awards that the film\r\nwon, I feel it is safe to say that the film was received as a masterpiece in\r\nits initial perception. Spike Lee was able to staple himself as a prominent\r\ndirector and showed his ability to conquer touchy subjects in a tasteful way\r\nthat can appeal to the masses.\r\n\r\nThe movie in today’s time is still\r\nlooked at as an accurate depiction of racial tensions, and sadly to say some of\r\nthose same stereotypes still exist in the world we live in today. There have\r\nbeen other films since the release of “Do The Right Thing” that tackle racial\r\nissues, but none were able to achieve what spike lee was able to do in 1989 as\r\none of the first to do it. A true testament as to how this film was able to\r\nstand the test of time and show that it would be still a classic is the film’s\r\npreservation into the National Film Registry. (IMDB) The film which was\r\naccepted into preservation during the year 1999 was the movies first eligible year\r\nand it was preserved by the board. The fact the film has been preserved by the\r\nNational Film Registry makes me feel good about choosing this film for my time\r\ncapsule. These peoples spend their lives watching movies and judging them on\r\nall kinds of criteria for preservation into the registry, and since the board\r\nchoose “Do The Right Thing” in its first year of eligibility says a lot about\r\nthe film in general. Although 1999 is not 2011, it shows that ten years after\r\nthe films release it was already considered a classic. The reception it would\r\nreceive in today’s time would be a bit different as the film may or may not\r\nreceive as much talk about the racism in the film. The subject of race is\r\ndifferent in a time where we are living with a BLACK PRESIDENT!!!! Also in\r\ntoday’s media age of facebook and twitter and internet access everywhere, the\r\namount of racial tension in America\r\nis not what it used to be. Not that its not there, but that America has become\r\nsuch a melting pot since the year 1989 the racial tensions amongst blacks and\r\nItalians, would have to be changed to blacks, whites, Hispanics, Asians,\r\nEuropeans, etc. The film would still hold the same value of depicting the\r\nracial tension amongst a small Brooklyn\r\ncommunity but the nature of racial tension in 2011 is not the same as 1989.\r\n\r\nPersonally I find this film to be\r\nterrific in every way, Spike Lee himself is playing in the movie, and the fact\r\nhe directs the film as well is awesome. There are not many movies that are able\r\nto show racism in the 80s in Brooklyn,\r\nNew York which is a mega center\r\nof cultures. There will never be another “Do The Right Thing”; nothing will\r\never close to having the same impact on a nation’s society. The cultural clash\r\nthroughout the film is special to me as the film truly depicts racism in its\r\nrawest most uncut form. The images are so vivid throughout the entire film and\r\nthe scene where Mookie is standing at the store looking at the aftermath of the\r\nstore is engraved in my mind forever. “Colorful costumes add to the film\'s\r\nvisual intensity and serve as metaphors for ethnic diversity.” (Eric) What is\r\nparticularly meaningful about the film to me is how well he is able to exploit\r\nracism and how he shows it from all sides of the spectrum. He employs special\r\ncharacteristics in his cast members that truly depict America’s\r\nstereotype of blacks, Puerto Ricans, Italians and white police officers. The\r\nmost important meaning is that people are faced with tough decisions everyday,\r\nand that the world is not some open hearted loving place. Anything can happen\r\nin this world, and there are some things that happen without any ones control.\r\nThe death of Radio Raheem is a true example of how cruel and unjust the world\r\nis, and Spike Lee does an excellent job of showing how something some simple\r\ncan turn out to be a huge tragedy. I also like the film for its comedy as well,\r\nwhich is very dominant in the film as well. The characters all have strong\r\nreal-world personalities that are relatable to and easy to identify with.\r\n\r\nA film that is similar to Spike Lee’s\r\n“Do The Right Thing” is John Singleton’s “Higher Learning” (1995) which is also\r\nbased on racism. Singleton’s film is a remarkable film as well, but the overall\r\nmovie can not compare with Lee’s.\r\n“Higher Learning” is the story of three college kids who are freshman at\r\nColumbus University and have to deal with all\r\nkinds of new problems that they haven’t experienced before. As in Lee’s film,\r\nthere are evident signs of racism that are there for the audience to interpret\r\nthemselves. The characters in “Higher Learning” are all forced to find their identities\r\nand the focus of prejudice an other problems are all evident in the film. Lee’s\r\nfilm is a comedic performance which all takes place in one 24 hour period. The\r\nfilms have similar meanings but the approach to the filmmaking is different.\r\nWhere as Lee’s film came first, he was the first one to tackle race issues head\r\non in a film “Higher Learning” doesn’t as much focus on just race as it does\r\nthe true struggles of a college student and identifying yourself amongst a new\r\nset of people and so called friends. The direction that Lee’s film took is one\r\nof a political activist trying to display how things were in a simple Brooklyn neighborhood. “Higher Learning” had the task of\r\nfollowing three characters and there isn’t that much depth into each characters\r\ntrue dynamics throughout the film. Also it wasn’t accepted into the National\r\nFilm Registry like “Do The Right Thing”, nor did it win as many awards and\r\nnominations as Lee’s films. That’s why on the merit of a movie being based\r\naround race topics, Spike Lees deserves preservation over Singletons for his\r\nability to put a comedic outlook on racial tension.\r\n\r\nWhat is most significant for future\r\ngenerations to be aware of is the ability to create a movie about race and have\r\nit is received by the masses as tasteful and insightful and funny. The quality\r\nof the movie is amazing and future generations need to be aware of Spike Lee\r\nand what the man stood for, believed in and fought for. He was a true black\r\npioneer, and still is to this day an icon in the black community. This movie is\r\nmore than just its awards and more than just a movie about racial tension. The\r\naudacity Spike Lee must have had to produce this movie and put it out the\r\npublic needs to be remembered for generations to come as there truly is not\r\nanother movie like it of its kind and era. So for the fact that Spike Lee was\r\nable to make a real world movie about race and racial tension in America,\r\nand have his point be heard and respected is why I feel like “Do The Right\r\nThing” deserves preservation into my time capsule.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','\"DO THE RIGHT THING\"','','publish','open','open','','do-the-right-thing','','','2011-11-25 13:41:36','2011-11-25 19:41:36','',0,'http://jeanatacc.com/2011/?p=2164',0,'post','',10),(2165,50,'2011-11-23 23:01:57','2011-11-24 05:01:57','Spike Lee’s “Do The Right Thing”\n(1989) is a dramatic comedy that depicts life on a sunny Brooklyn\nstreet were racial tensions are at an all time high. The story is about a young\nAfrican-American man named Mookie (Spike Lee) who works at the local pizza shop\nin his neighborhood. The store is owned by Italians but the clientele is\nlargely black which causes for Mookie to feel somewhat stuck in the middle of a\nrace tug of war. He feels like he should do well at work and be a good employee\nto Sal (<a title=\"Danny Aiello\" href=\"http://en.wikipedia.org/wiki/Danny_Aiello\">Danny Aiello</a>)\nthe man who hired him. But his friends in the black community are constantly\ntelling him to stay black and that he shouldn’t go to work for that racist\nItalian. At the time of the movie’s release in 1989 there were talks amongst\nthe leaders of the US and\nthe USSR\nthat the cold war would soon be coming to an end. The nation as a whole was in\nvery cautious and suspicious state of mind as we felt a constant threat from\nthe Russians throughout the Cold War. The Cold War ties into the film as it\nportrays the ignorance that many citizens had about stereotypes and suspicions\nof other races. This movie deserves preservation for multiple reasons, not only\nfor its astounding award resume, but for the ability of a black director to\nmake a box office movie about racial tension through the eyes of a black man.\nDuring a time were racial tensions in America was a new theme as the new nation\nlearned how to deal with racial freedom whether it be economically,\npolitically, or socially Spike Lee’s “Do The Right Thing” covers all aspects.\n\nSpike\nLee’s “Do The Right Thing” is typical of its era in the sense it’s a box office\nmovie with noteworthy actors and is viewed in cinemas until its VHS release. There\nare not any major changes in the production of the film, and the fact Spike Lee\ndirected and acted in it is a remarkable trait of the film. What is significant\nabout this film from its era is that it was one of the first movies to tackle\nracism and stereotypes head on. The subject matter was extremely rare at the\ntime and the film was reviewed by critics to possibly bring about an uproar of\nviolence in the black community. “<em>New York</em> magazine said, ‘Lee appears to be\nendorsing the outcome, and if some audiences go wild he\'s partly responsible.’”\n(WORLDBIO).\n\nThe ability for Spike Lee to make a\nmovie about race that was unbiased to all races, and to not take sides but just\nportray the movie as how things truly are is what makes the movie stand out\nfrom its peers. Movies at the time were starting to focus on more controversial\ntopics like the film “Black Rain” which focused on the dropping of an atomic\nbomb on Hiroshima.\nThat movie is seen to have much more of a political motive where as Spike Lee’s\ncan’t be thrown into one particular category of having a specific goal to\nachieve as it accomplishes so many. The movie has so much cultural context to\nit as truly remarks a time in America\nwere racism was a rising topic. Blacks had been previously enslaved in America,\nand then segregated from white Americans as the laws in the south allowed for\nit. Then in later court cases and through influential leaders such as Martin\nLuther King and Malcolm X the end of segregation began in the mid 60s. The\nblack community was finally in a time were the ever present thoughts of past\noppression were starting to fade away. America\nhas always had a relaxed immigration policy and the cultural tension between\nBlacks and Italians in Brooklyn was a rising\nheated topic. Spike Lee does an excellent job of covering the time period in\nwhich he was living in as the movie accurately displays how things were at that\npoint in time in 1989. Racism was not a common topic in the film industry, let\nalone by a black director, where the film industry is dominated white males.\n\nThe film was one of those extraordinary films\nthat no matter who you were when you walked out of the theater you were touched.\nWhether it is by the racial tension, the dilemmas faced throughout the film, or\nby the sheer quality that was taken into the film and by its cast members and\namazing director Spike Lee this film was instant success in the film world. The\nfilm is noted for winning numerous awards as a film and through individual\nefforts as well. The film is noted for giving film debuts to actors Martin\nLawrence and Rosie Perez. The film also has some high profile nominations to\nits name. According to IMDB the film was nominated for 4 Golden Globe awards\nand also for 2 Oscar Awards. It also won awards from Chicago,\nLos Angeles, New York\nand Boston’s\nfilm critics’ awards committee. (IMDB) Critics of the movie were expecting for\na violent reaction form the black community to the film, but there wasn’t\nanything like that to note of. Through the nominations and awards that the film\nwon, I feel it is safe to say that the film was received as a masterpiece in\nits initial perception. Spike Lee was able to staple himself as a prominent\ndirector and showed his ability to conquer touchy subjects in a tasteful way\nthat can appeal to the masses.\n\nThe movie in today’s time is still\nlooked at as an accurate depiction of racial tensions, and sadly to say some of\nthose same stereotypes still exist in the world we live in today. There have\nbeen other films since the release of “Do The Right Thing” that tackle racial\nissues, but none were able to achieve what spike lee was able to do in 1989 as\none of the first to do it. A true testament as to how this film was able to\nstand the test of time and show that it would be still a classic is the film’s\npreservation into the National Film Registry. (IMDB) The film which was\naccepted into preservation during the year 1999 was the movies first eligible year\nand it was preserved by the board. The fact the film has been preserved by the\nNational Film Registry makes me feel good about choosing this film for my time\ncapsule. These peoples spend their lives watching movies and judging them on\nall kinds of criteria for preservation into the registry, and since the board\nchoose “Do The Right Thing” in its first year of eligibility says a lot about\nthe film in general. Although 1999 is not 2011, it shows that ten years after\nthe films release it was already considered a classic. The reception it would\nreceive in today’s time would be a bit different as the film may or may not\nreceive as much talk about the racism in the film. The subject of race is\ndifferent in a time where we are living with a BLACK PRESIDENT!!!! Also in\ntoday’s media age of facebook and twitter and internet access everywhere, the\namount of racial tension in America\nis not what it used to be. Not that its not there, but that America has become\nsuch a melting pot since the year 1989 the racial tensions amongst blacks and\nItalians, would have to be changed to blacks, whites, Hispanics, Asians,\nEuropeans, etc. The film would still hold the same value of depicting the\nracial tension amongst a small Brooklyn\ncommunity but the nature of racial tension in 2011 is not the same as 1989.\n\nPersonally I find this film to be\nterrific in every way, Spike Lee himself is playing in the movie, and the fact\nhe directs the film as well is awesome. There are not many movies that are able\nto show racism in the 80s in Brooklyn,\nNew York which is a mega center\nof cultures. There will never be another “Do The Right Thing”; nothing will\never close to having the same impact on a nation’s society. The cultural clash\nthroughout the film is special to me as the film truly depicts racism in its\nrawest most uncut form. The images are so vivid throughout the entire film and\nthe scene where Mookie is standing at the store looking at the aftermath of the\nstore is engraved in my mind forever. “Colorful costumes add to the film\'s\nvisual intensity and serve as metaphors for ethnic diversity.” (Eric) What is\nparticularly meaningful about the film to me is how well he is able to exploit\nracism and how he shows it from all sides of the spectrum. He employs special\ncharacteristics in his cast members that truly depict America’s\nstereotype of blacks, Puerto Ricans, Italians and white police officers. The\nmost important meaning is that people are faced with tough decisions everyday,\nand that the world is not some open hearted loving place. Anything can happen\nin this world, and there are some things that happen without any ones control.\nThe death of Radio Raheem is a true example of how cruel and unjust the world\nis, and Spike Lee does an excellent job of showing how something some simple\ncan turn out to be a huge tragedy. I also like the film for its comedy as well,\nwhich is very dominant in the film as well. The characters all have strong\nreal-world personalities that are relatable to and easy to identify with.\n\nA film that is similar to Spike Lee’s\n“Do The Right Thing” is John Singleton’s “Higher Learning” (1995) which is also\nbased on racism. Singleton’s film is a remarkable film as well, but the overall\nmovie can not compare with Lee’s.\n“Higher Learning” is the story of three college kids who are freshman at\nColumbus University and have to deal with all\nkinds of new problems that they haven’t experienced before. As in Lee’s film,\nthere are evident signs of racism that are there for the audience to interpret\nthemselves. The characters in “Higher Learning” are all forced to find their identities\nand the focus of prejudice an other problems are all evident in the film. Lee’s\nfilm is a comedic performance which all takes place in one 24 hour period. The\nfilms have similar meanings but the approach to the filmmaking is different.\nWhere as Lee’s film came first, he was the first one to tackle race issues head\non in a film “Higher Learning” doesn’t as much focus on just race as it does\nthe true struggles of a college student and identifying yourself amongst a new\nset of people and so called friends. The direction that Lee’s film took is one\nof a political activist trying to display how things were in a simple Brooklyn neighborhood. “Higher Learning” had the task of\nfollowing three characters and there isn’t that much depth into each characters\ntrue dynamics throughout the film. Also it wasn’t accepted into the National\nFilm Registry like “Do The Right Thing”, nor did it win as many awards and\nnominations as Lee’s films. That’s why on the merit of a movie being based\naround race topics, Spike Lees deserves preservation over Singletons for his\nability to put a comedic outlook on racial tension.\n\nWhat is most significant for future\ngenerations to be aware of is the ability to create a movie about race and have\nit is received by the masses as tasteful and insightful and funny. The quality\nof the movie is amazing and future generations need to be aware of Spike Lee\nand what the man stood for, believed in and fought for. He was a true black\npioneer, and still is to this day an icon in the black community. This movie is\nmore than just its awards and more than just a movie about racial tension. The\naudacity Spike Lee must have had to produce this movie and put it out the\npublic needs to be remembered for generations to come as there truly is not\nanother movie like it of its kind and era. So for the fact that Spike Lee was\nable to make a real world movie about race and racial tension in America,\nand have his point be heard and respected is why I feel like “Do The Right\nThing” deserves preservation into my time capsule.\n\n&nbsp;\n\n&nbsp;','\"DO THE RIGHT THING\"','','inherit','open','open','','2164-revision','','','2011-11-23 23:01:57','2011-11-24 05:01:57','',2164,'http://jeanatacc.com/2011/?p=2165',0,'revision','',0);
