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Brianna Schmidt
Mrs. Taylor
ENG 101
15 February 2017
Peace Versus War The spirit of the 1960's anti-war movement was perfectly captured by Marc Riboud in his photograph, La Jeune Fille a la Fleur. This picture is a astonishingly accurate representation of peace and innocence versus the destruction of war. While attending an anti Vietnam War rally outside of the pentagon on a Saturday afternoon in late October, 1967, photographer Marc Riboud noticed 17 year old Jan Rose Kasmir speaking to some soldiers. Riboud recalls, “I had the feeling the soldiers were more afraid of her than she was of the bayonets.” Intrigued by the scene he saw, a young woman extending her kindness to the enemy, Riboud snapped a few pictures. Kasmir states, “...I realized 'them' was that soldier in front of me- a human being I could just as easily have been going out on a date with” Her realization and tenderness created a memorable scene for this iconic photograph.
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The warm, fading light helps create an atmosphere of peace while the stony countenance of the soldiers' faces represent war, pain, and suffering. The close, angled view of the photograph give us a clear picture of a young woman placing a flower in a rifle bayonet. The flower - although small and rather average - is the main focus of the image. Its soft, gentle shape clashes strongly with the bayonet - a weapon of war used for murder- and provides a symbol of amity and serenity among destruction. The photo's main focus is on the girl, the flower, and the bayonet. The rest of the picture is blurred to create a gentle and soft
The three narratives “Home Soil” by Irene Zabytko, “Song of Napalm” by Bruce Weigl, and “Dulce et Decorum Est” by Wilfred Owen all have the same feelings of war and memory, although not everyone experiences the same war. Zabytko, Weigl, and Owen used shifting beats, dramatic descriptions, and intense, painful images, to convince us that the horror of war far outweighs the devoted awareness of those who fantasize war and the memories that support it.
Nevertheless, one of the most important imageries is the fact the rifle itself represents war; thus, the soldier takes so much care of the rifle because the rifle, or the war, once took great care of him by shaping him into the man he is today and, most importantly, by keeping him alive. Imagery, therefore, proves how Magnus delicately transmits information so that an appropriate characterization could take place, which informs the audience about the soldier’s character and, ultimately, the importance of war to the
This art analysis will define the theme of the universality of 20th century modern warfare in the context of modern works of art by David Levinthal and Roger de la Fresnaye. David Levinthal’s “Untitled” (1972) is commentary on the mass killing of modern warfare in the 20th century, which killed many millions of men during Hitler’s invasion of Europe. Levinthal’s childhood imagery of tanks, soldiers, and homes visualize the mass killing of war as a “universal” concept in the depiction of the modern psyche. Roger de la Fresnaye’s “Artillery” (1911) is also a commentary on cubist imagery that projects a military
The Vietnam War has become a focal point of the Sixties. Known as the first televised war, American citizens quickly became consumed with every aspect of the war. In a sense, they could not simply “turn off” the war. A Rumor of War by Philip Caputo is a firsthand account of this horrific war that tore our nation apart. Throughout this autobiography, there were several sections that grabbed my attention. I found Caputo’s use of stark comparisons and vivid imagery, particularly captivating in that, those scenes forced me to reflect on my own feelings about the war. These scenes also caused me to look at the Vietnam War from the perspective of a soldier, which is not a perspective I had previously considered. In particular, Caputo’s account of
His months in Vietnam were filled with bloodshed and human atrocity, and from this, no man could feasibly return the same person. Yet beneath what John endured throughout the war, he suffered many unkindness’ and tragedies that shaped him into adulthood. It was not only the war that made John Wade, but it was John Wade’s existence; his whole life that made him who he was. John Wade craved love, admiration and affection. All his life, all he wanted was to be loved, and his father’s constant taunting hurt him immensely.
Even visual media, which has improved remarkably over the last several decades, cannot express these feelings accurately. Today’s movies, photography and other digital media about wars are considerably more visual and realistic than in the past. They are capable of portraying events very close to reality. However, these photos and movie scenes still cannot make a person experience the exact feelings of another person who actually fought in a war.
Tim O’Brien states in his novel The Things They Carried, “The truths are contradictory. It can be argued, for instance, that war is grotesque. But in truth war is also beauty. For all its horror, you can’t help but gape at the awful majesty of combat” (77). This profound statement captures not only his perspective of war from his experience in Vietnam but a collective truth about war across the ages. It is not called the art of combat without reason: this truth transcends time and can be found in the art produced and poetry written during the years of World War I. George Trakl creates beautiful images of the war in his poem “Grodek” but juxtaposes them with the harsh realities of war. Paul Nash, a World War I artist, invokes similar images in his paintings We are Making a New World and The Ypres Salient at Night. Guilaume Apollinaire’s writes about the beautiful atrocity that is war in his poem “Gala.”
“And then one morning, all alone, Mary Anne walked off into the mountains and did not come back” (110). Tim O’Brien’s short story “The Sweetheart of the Song Tra Bong” presents an all-American girl who has been held back by social and behavioral norms – grasping for an identity she has been deprived the ability to develop. The water of the Song Tra Bong removes Mary Anne’s former notion of being as she, “stopped for a swim” (92). With her roles being erased Mary Anne becomes obsessed with the land and mystery of Vietnam and is allowed to discover herself. Through the lenses of Mark Fossie and the men in the Alpha Company, Mary Anne becomes an animal and is completely unrecognizable by the end of the story. Mary Anne, however, states she is happy and self-aware. The men of the Alpha Company argue for virtue in that Mary Anne was “gone” (107) and that what she was becoming “was dangerous… ready for the kill” (112). They did not want to accept a woman becoming something different from what women always were. In “How Tell to a True War Story” we are told that a true war story “does not instruct, nor encourage virtue, nor suggest models of proper human behavior” (65). Mary Anne did not truly become ‘dark’, because to her this is not a story about war; this is a story about a woman attempting to overcome gender roles and the inability of men to accept it.
Mary Anne is initially introduced to the audience, narrated by Rat Kiley, as an innocent and naïve young woman present in Vietnam solely to visit her boyfriend, Mark Fossie. She arrives in “white culottes” and a “sexy pink sweater” (86), and is deemed by the other soldiers as no more than a happy distraction for her man. As Mary Anne settles in though, her abundant curiosity of Vietnam and the war heighten, and she soon enough possesses as much interest in the war as many of the men. Forward, Mary Anne’s transformation into a soldier begins as she leaves her sweet femininity behind. No longer caring for her vanity, she falls “into the habits of the bush. No cosmetics, no fingernail filing. She stopped wearing jewelry, [and] cut her hair short” (94). Mary Anne’s lost femininity is also evident when she handles powerful rifles like the M-16. Not only does the weapon literally scream out masculi...
This photograph, taken in 1967 in the heart of the Vietnam War Protests, depicts different ideologies about how problems can be solved. In the picture, which narrowly missed winning the Pulitzer Prize, a teen is seen poking carnations into the barrels of guns held by members of the US National Guard. This moment, captured by photographer Bernie Boston symbolizes the flower power movement. Flower power is a phrase that referred to the hippie notion of “make love not war”, and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars. The photograph can be analyzed through the elements of image as defined by ‘The Little Brown Handbook’ on page 86. There are a total of nine elements that contribute to the communicative quality of an image. The message that this particular image tries to convey is the strong sense of way that conflict should be handled; by way of guns or by way of flowers. The ‘way of guns’ is violence and excessive force which heavily contradicts the ‘way of flowers’ which is a more peaceful and diplomatic way of handling conflict or disagreement. This photograph depicts these ideologies through its use of emphasis, narration,point of view, arrangement, color, characterization, context and tension.
Have you ever thought about what it was like to live during World War 1, or what it was like to fight at war? At first glance of any war piece, you might think the author would try to portray the soldiers as mentally tough and have a smashing conscience. Many would think that fighting in a war shows how devoted you are to your country, however, that is not true. According to All Quiet on the Western Front by Erich Maria Remarque, the reality of a soldier's life is despondency, carnage and eradication at every bombardment. Living every day is not knowing if they will eat, see their families, or even if they will awaken the next day. Demeaning themselves from heroes to barely men without their military garment or identity. Remarque conveyed how
The inevitably of conflicts occurring between us is something we’ve come to the realization, is going to be a forever struggle. There are so many people on this planet that to maintain peace, isn’t always going to work. Unfortunately for many that means being involved in conflicts rising as great as wars. The photo Burst of Joy taken by photographer Slava “Sal” Veder captures the joy an American soldier experiences after returning home from the war in Vietnam. The war in Vietnam was fought between the north Vietnam and the south, (as well as its principal ally, the United States) between 1954-1975. This meant that many Americans had to uproot and head out to a country they’d never been to, leaving their families behind. The photograph taken
The connotation of the words and word choice provide valuable information regarding the photo's composition. A curious detail of the caption is the mentioning only of George Harris and not the Youth International Party. Why does Boston not talk about the group who organized the antiwar event? The image is based solely off of Harris, not off of the group's goals or ideas. In the caption of the photograph, word choice is important to note. Harris “sticks” the flowers, not forces them. Just as he does not force the flowers to go down the gun barrels, the hippie movement is not forcing peace upon America, because if they did, they would be negating what peace is and what they stand for. His flowers choice is interesting. Carnations are known as flowers of the dead and are often the flower of choice for funerals. Why did Harris choose this particular flower? Did he stick the flowers in the guns to mock the soldiers, reminding them of the lives they had stolen? Or was Harris simply remembering all the fallen of the war? The title of the photograph, Flower Power, puts the hippie movement into simple terms. Flower Power demonstrates how the peace and the efforts to gain peace are powerful. Boston provides a thought provoking caption to expand on the complexity of the
The soldiers feel that the only people they can talk to about the war are their “brothers”, the other men who experienced the Vietnam War. The friendship and kinship that grew in the jungles of Vietnam survived and lived on here in the United States. By talking to each other, the soldiers help to sort out the incidents that happened in the War and to put these incidents behind them. “The thing to do, we decided, was to forget the coffee and switch to gin, which improved the mood, and not much later we were laughing at some of the craziness that used to go on” (O’Brien, 29).
We use pictures to develop our own views on specific events that have gone on in the world past and present. In the photograph “Napalm Girl”, Associated press Nick Ut captured a story that only him and the people in the photo would know. The picture was captured of a group of children and soldiers getting away from an accidental napalm bomb that was dropped during the Vietnam War. I am going to establish the history of the event. The issue that this photograph was editors from different media companies and all built stories to show the public that the Vietnam war was not under control. All of the newscasting and journalist headlines that were created from the photos were different. This image has drawn many people in society to believing different