Paper Topic

For my final paper I'd like to do Herland and to study what kind of impact the feminist literature of Gilman and others had on the literature and art which comprised the feminist movement of the 1960's and 1970's. I want to focus on the differences between Gilman and her contemporary counterparts and what that says about the changes in American society and perception of women and equality.

1) i will focus on Herland as well as Gilman's sequel Ourland as examples of feminist literature at the turn of the 20th century

2) i will also draw from articles written by femininsts in the 1960's and 1970's (i.e. "No More Miss America", "Double Jeopordy: To Be Black and Female", "Poor White Woman", "Why I Want a Wife", and "The Bitch Manifesto")

Brian's Paper Topic

1. Gate of Heavenly Peace

2. I want to focus on the period leading up to the Japanese invasion of Manchuria. Spence does a really good job setting the tone for the many conflicts of the period and I would like to look at the relationships between the Japanese and the Chinese individual citizens living in the region.

3. My first source is The Blue Lotus (The Adventures of Tintin) by the Belgian writer Herge. It's a comic book but has a story line that says a lot about international perspective on the Manchurian occupation as well as the Chinese perspective.

4. My other source, Manchurian Legacy: Memoirs of a Japanese Colonist by Kazuko Kuramoto, is a primary source from the Japanese perspective. The memoir gives a good view of colonization as a duty to the Japanese nation and support for its expansionist policies.

Manchurian Legacy: Memoirs of a Japanese Colonist

Final Paper Topic

1. The Conquest of Cool

2. My thesis will focus on businesses extreme co-optation of the values of those rebelling against them. My paper will examine the ways in which the countercultural rebellion became corporate ideology and its impact on advertising in the sixties.

3. I will be looking at Commodify Your Dissent, a work by Thomas Frank and Matt Weiland that offers a variety of articles from their magazine "The Baffler". Specifically I will be referring to the article "Why Johnny Can't Dissent" by Frank which delves further into the ways in which corporate America assimilated the ideas of the rebellious youth and sook to absorb and promote the counterculture rather than isolate it.

I will also be referring to Leslie Savan's The Sponsored Life:Ads, TV, and American Culture. Savan wrote a column for the Village Voice on advertisements and culture for 13 years. Savan describes our traditional quest for individualism which advertisers are able to market through conformity.

Final Paper

1) Copenhagen

2) Paper will focus on the morality of using the atomic bomb. Specifically focusing on how the scientists working on both the German and American programs felt, upon hearing about the bomb dropped in Japan and after the completion of the bomb in America respectively.

3) Operation Epsilon: Farm Hall transcripts- the German scientists had discussions about the truthfulness of the bomb being dropped in Japan and also about who was responsible and how glad they were not to be the ones to cause such destruction.

A compilation of letters written by or to Leo Szilard about his feelings of the bomb being used. Includes memorandum to FDR and later Truman and the petition of scientists to the President to advise against the use of the bomb.

Final Paper Topic

1) The Conquest of Cool.

2)I'd like to focus specifically on the introduction of irony into advertising and the evolution of advertising as a creative art form that occurred with the creative revolution in the sixties and trace how this affected ads in subsequent decades. I would especially like to analyze how the the art of advertising explains the social background of the United States during and after the creative revolution.

3) I would like to use From Those Wonderful Folks Who Gave You Pearl Harbor: Front-line dispatches from the Advertising War, Jerry Della Femina's memoir about his experiences as an adman during the creative revolution. 

Also, I would like to look at specific ads from the decade, especially the DDB volkswagen ads, and compare them to more modern ads to see how the creative revolution influenced the way in which ads were produced.

Final Paper Topic

1. My final paper topic will be on The Conquest of Cool.

2. I plan to focus on the creative revolution in the advertising industry in the fifties, specifically on the formation of the concept of identifying with youth and counterculture, and the resulting effects on both the advertising world and general consumer culture.

3. I plan to use George Lois' memoir George, Be Careful, which discusses his experiences as one of the forces influencing advertising's evolution on Madison Avenue. (He has written several other books on the subject which I may also find helpful).
I'll also use Rosser Reeve's book Reality in Advertising, which exemplified the standard for advertising in the 1950s - that is, before the creative revolution.

Cassie's Paper Topic post

1. Herland
2. I plan on examining the methods of early twentieth century feminism and their influence/differences on the feminism movements of the later twentieth century. (eg: utopian novels to incite social reform.)
3. Sources:
• With Her in Ourland, Gilman’s follow-up novel to Herland, which follows Ellador and Van through the “normal” world during World War I contrasted with The Awakening by Kate Chopin.
• Letter from Lucretia Mott to Elizabeth Cady Stanton in 1855 discussing the positions and feelings of women in the movement, Stanton’s plan for a book, etc.

Final Paper

1) Herland

2)My paper will focus on utopian novels by Charlotte Perkins Gilman and how those novels show Gilman's developing utopian ideas.

3)Moving the Mountain-a work in which Gilman creates a perfect society in the U.S. where men and women are equal as a result of women realizing their full potential

With Her in Ourland- a sequel to Herland that follows Van and Ellador as they travel after leaving Herland. This is more of a satirical critique.

Final Paper Topic

1) Copenhagen

2) My paper will focus on the German bomb program during the war and specifically how much knowledge was available to the Germans and whether or not Heisenberg attmepted to sabotage the program with his figuring of equations

3) Farm Hall transcripts - originally recordings of the conversations between German physicists detained in England after the war, makes potentially secret information heard.

David Irving interview with Werner Heisenberg - For his book The Virus House about the Hitler's WWII Bomb program, Irving conducted a lengthy interview with Heisenberg about his part in the program. Note - this document might be hard to find.

Rachel's post

http://www.jstor.org.ezproxy.bu.edu/stable/1211973?seq=12&Search=yes&term=Hollywood&term=Vietnam&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DHollywood%2Band%2BVietnam%26gw%3Djtx%26prq%3DVietnam%2Bin%2BFilm%26hp%3D25%26wc%3Don&item=6&ttl=2431&returnArticleService=showArticle&resultsServiceName=doBasicResultsFromArticle


This is an article by Peter McInerney from the Film Quarterly magazine published in 1979. McInerney, in around ten pages, describes the emergence of the ?Vietnam War genre? in American film and focuses primarily on several major Vietnam War films released in the late 1970s including the Deer Hunter and Apocalypse Now. He explores the challenges faced by filmmakers in attempting to portray this subject and all its controversies on screen and still make a movie with profitable success. McInerney also examines how filmmakers, in making war films, seek to influence the public?s attitude toward and view of the war itself. The evolution of the Vietnam War film is especially unique in the history of war film because Hollywood had to deal with an unprecedented amount of controversy which surrounded the war. Hollywood, during the war, did not dare make movies with antiwar sentiment but found it difficult to make films as completely pro-war when the situation in Vietnam was not reporting much success. After the war, McInerney says, Hollywood has portrayed the war as a ?nightmare for individuals and a collective hell for the nation?, and has taken real war veteran testimonies and stylized them so that ?Hollywood hasn?t been Vietnamized: these films have Hollywoodized Vietnam?. Most of these movies end with redemption and rehabilitation which was in reality absent from the average American soldier?s experience. McInerney, all in all, criticizes Hollywood?s addition of suspense, heroism, adventure etc. for entertainment value when motivations behind American involvement in Vietnam and the soldier?s experience are hard enough to understand. He concludes that the Deer Hunter and Apocalypse Now fail at demonstrating what the war was to those who experienced it.

I think that the questions Peter McInerney brings up in this article are extremely important in analyzing the successes and failures of film in portraying the horrors of war. I do agree that Hollywood, in stylizing and adding to the real experiences of Vietnam veterans in order to create an entertaining and satisfying two hour film, sacrifices its ability to accurately depict the war. But, in reality, it is impossible anyway to condense all that occurred in a war that lasted for more than a decade into a film that lasts a few hours. And although most films attempt to overcome this problem of condensing by focusing on one event or the experience of one individual, unless you were there, you can never know what was really felt and seen or understand the suffering experienced by the American soldiers in Vietnam. However, I do believe that film can be a successful medium by which to raise awareness for war and atrocities as long as people, in viewing them, should remember that what they are watching is not actually history only a director?s representation of it.

History According to Hollywood

The following article appeared in the Christian Science Monitor in September, 2001. The article discusses the implications of society driven by information from film. With this, argues the author, comes a new responsibility from filmmakers and Hollywood executives to take more care in depicting history accurately. It is no doubt film is currently the number one entertainment medium and people base a lot of their information of what appears on screen. The author gives examples of failed attempts at showing particular historical characters in a not only generous but accurate light. From their she moves her critical eye to another issue of how exactly to depict history correctly, if one can at all. Tom Hanks aids her discussion by arguing that it is impossible to be completely accurate, but a lot of the time directors and producers aim for authenticity above correctness and facts. Whether or not this is attributable enough to the past remains inconclusive. The article is clear and concise, bringing up relevant points about the ongoing issue.

http://www.csmonitor.com/2001/0928/p13s1-almo.html

Genocide Films vs. Holocaust Films

Here is an article from the IDRC about the portrayal of genocide in film:http://www.idrc.ca/rwandagenocide/ev-108307-201-1-DO_TOPIC.html#

The article attempts to make a distinction between genocide films and holocaust films. I don't know if I agree that you can separate the two types of films. The article seems to make a distinguish between the two based on race, which ties into another point that the article makes. Some of the most popular genocide films, like Schindler's List, choose not to focus on the victims of the genocides themselves, but instead make their hero's people that "white viewers" can relate too. I think that whenever you turn something into an industry, like the article suggests genocide films have become, its impossible to truly be faithful to the source material without some commercial biases slipping in.

How movies deal with the Holocaust

This article talks about the how, Hollywood first tried not to offend Nazi Germany and later, tried not to confront the Holocaust by making any films on the subject. As the article continues, it recounts the successes and failures of many famous Holocaust films. In general, Holocaust movies were always both criticized for their message and delivery and praised for it's bravery and honesty. I believe that the author, Stephen Applebaum is right in saying that there will always be two contrasting opinions to Holocaust movies. Although the bottom line may be how much a movie makes, the message these films send out are generally the same, the only thing that changes is the delivery. I believe there will always be a group of people who are offended and another glad someone told this story. No film will ever encapsulate the true experience of the Holocaust, but with so much ignorance in this world, some knowledge is better than none. The good thing about Holocaust films is that the subject matter is so serious, that the finished product usually always delivers the best it can give the audience. I believe that in the end, these films are important for younger generations to see so that even if they may not read or hear about it as years pass and survivors die, at least they can see a movie and be aware.



http://www.bbc.co.uk/films/2003/01/15/the_holocaust_on_film_2003_article.shtml

Filming the Unfilmable- The Challenge of the Genocide Movie.

This article written by Katrina Onstad of the CBC in Canada was written following the release of Hotel Rwanda. She interviews several promeinent film makers about there experiences making genocide films such as life is beautiful. She notes the increasing graphicness of these depcitions and the delicate balancing act film makers must play in order to keep the violence from becoming "routine"

Chuck Giroux

Film and History

Marc Ferro published an article (jstor) about the place of history and film, specifically in political and social commentary films. His main point is that film should not be viewed simply as a reflection of history, but as an additional source and agent within history- "Grasping film in its relation to history... must look at the historical function of film, as its relationship with the societies that produce and consume it, at the social processes involved in the making of the works, at cinema as a source of history. As agents and products of history, films and the world of films stand in a complex relationship with the audience..." 

Ferro brings up a good point in how influential film can be. On the other side of the spectrum from holocaust portrayals, we can see from the iconic movie Deepthroat how much film can act as an agent of cultural history. "Deep Throat, strange as it may seem, changed America's sexual attitudes more than anything since the first Kinsey Report in 1948," argues movie critic Joe Bob Briggs. I remember my mom telling me that she went to see the movie with friends as a casual night out... if nothing else, this has convinced me that Deepthroat was influential in redefining sexuality. 

For this reason, I think Ferro has a very good point in suggesting that film can advance historical understanding if we recognize how powerful it can be. With that, however, must come the understanding that this power can just as easily distort our historical understanding. 

The Rwandan Genocide In Film

This article describes the reactions of survivors of the Rwandan genocide to recent films, including Sometimes in April and Hotel Rwanda. Generally, it says, while survivors are pleased that the atrocities of the genocide are being recognized, they are upset that the stories are inaccurately portrayed, to the point that they don't count them as their own.

I think the article raises a particularly important issue in pointing out that we cannot assume that what we see, even in a "historical" movie, is necessarily accurate. For instance, Sometimes in April downplays the government's own role in the genocide. While this may somehow more convenient for the studio, or make the movie flow more smoothly, but it does not truly reflect the regimented, systematic work of the Hutu radicals in power. In a film's quest to portray a dramatic story complete with the expected heroism, the truth is often distorted in ways that do survivors' experiences severe injustice. While I am glad that the horrific events of the this genocide, which have often been ignored and glossed over, are brought to light, it would be an even more important step to take pains to portray the stories as accurately as possible.

Cassie's blog post

I found a columnist's site who examines history in movies and takes questions on historical accuracy.
Here's her column on Cold Mountain:

http://www.stfrancis.edu/historyinthemovies/coldmountain.htm

I definitely agree with the writer's critique of the inaccuracies of Gone With the Wind—the idealized Southern belles and soldiers definitely don't lend themselves to a comprehensive understanding of the period. Cold Mountain, although a tad melodramatic at times, I felt was a pretty consistent portrayal of little-told stories of the people living south of the appalachians.

Frames of Evil

Here is a review of a book titled Frames of Evil. The book approaches the subject of the holocaust in films in relation to horror films. Ultimately the article says "film is viewed as being important for the creation of historical awareness and for sustaining the sense of society as moral community" and that cultural representations in film and memorials assure that it will not be forgotten. I agree with the article's argument. Film is indeed such an integral part of our culture that it can provide a base for future cultural interpretations, in this context films can advance our understanding of the event. However, it can very easily lead to distortion of the event if a person's knowledge of the event comes solely from film.

Brandon's blog post

http://www.tolerance.org/news/article_tol.jsp?id=1208

This article focuses on the depiction of atrocities by American media. We often wonder why the U.S. did not do more to prevent the Holocaust and all of it seems to have to do with the fact that people did not know about it because it was not widely reported, as the article argues. It also brings up an interesting point about racism and media coverage - the minimal coverage of the genocide in Rwanda was tainted by its stereotypical portrayal of Africa and its people.

The Position of Genocide in the Film Industry

This article discusses the issue of portraying genocide in film. There are some similar remarks from the movie that also connected with are discussion following the movie. The article tousched on the balance films must seek to provide information without desensitizing and the misreppresentation that can occur as a result. I agree with the author's argument of the need to find this balance and how it can be found through different portrayals of events: through the use of a hero or an overall film of complete autrocity.

Kayla Savelli's blog post

Kayla Savelli

Blog Response

http://movies.nytimes.com/2008/10/24/movies/24sovi.html?partner=rssnyt&emc=rss

This article is about a movie made to show the atrocities of Stalin’s rule in Russia. The movie is meant to show how Stalin and Hitler were both equally ruthless killers of their own people. The movie fails to present the subject matter in a respectful way, falling far from showing how truly horrible it was to live in Russia during this time. This is an instance where film is not a effective way to show people the horrific events because in the process they belittled it. There should never be an agenda when trying to portray a historical event that caused death and pain to millions of people.

Remembering the Holocaust

I found this interesting article which directly relates to the conversation we had in class last monday. The author talks a lot about the movies/mini-series mentioned in the film (specifically Schindler's List and Holocaust). She raises an interesting point about the prevalence of Holocaust memorials and whether they, like film representations, trivialize the atrocity since they themselves are commercial enterprises. Ultimately she references statements made by historian Carl Becker--essentially stating that "without knowledge there is no memory" and concludes a well constructed argument about the importance of knowledge in order to remember (not to relive or even understand) atrocities like the Final Solution.

art & history: representing atrocities

The film we watched last week, Imaginary Witness: Hollywood and the Holocaust, addressed the problem of how filmmakers have attempted to portray the Holocaust and touched on the larger question, famously raised by Elie Wiesel, of whether art can ever adequately address such horrors. Your blog post assignment for this week is to find and post an article that explores the issue of how historic atrocities have been represented in literature, film, and other media, and whether these representations advance or distort our understanding of these events. As you post your article, be sure to include your own commentary on whether or not you agree with the author's argument, and why.