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More handpicked essays just for you.
Why is the US involved with Vietnam
Why is the US involved with Vietnam
America's role in the Vietnam War
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George Lois (1931- ) is a writer, art director, graphic designer and advertising legend. Lois is historically significant because of his memorable, historical and risk taking designs in the form of magazine covers that showcased in MOMA, and advertising campaigns for top brands that put companies on top.
During the 60s through Esquire magazine covers, at that period all around the world was changing. Using the covers, George Lois would display messages that made the public feel the need to speak up against issues like racism, feminism, and the Vietnam War. He created impact, drawing the attention of the readers to pick up the magazines that displayed debatable images. Lois told Insight: Essentials that “It became an important part of not reflecting the culture but of helping to lead the culture.” The magazines displayed the history of this era as the world was changing. One of the magazine covers, that sparked a wake-up call to the nation, was one of simply words of a U.S soldier: “Oh my God-we hit a little girl.” This risk made the nation open their eyes to the war’s horr...
Theodor Seuss Geisel (aka Dr. Seuss) was born in Springfield, Massachusetts on March 2, 1904. His father worked in the family brewery, Kuhlmbach & Geisel, which locals pronounced, "come back and guzzle” until prohibition. His mother’s maiden name was Seuss. She was the daughter of a baker in Springfield. Seuss had an older sister named Marnie (Kibler, 1987).
An image has the explicit power of telling a story without saying any words, that’s the power behind a photo. A photo tends to comes with many sides to a story, it has the ability to manipulate and tell something differently. There is a tendency in America, where explicit photos of war or anything gruesome occurring in the world are censored for the public view. This censorship hides the reality of our world. In “The War Photo No One Would Publish” Torie DeGhett centers her argument on censorship, detailing the account of graphic Gulf War photo the American press refused to publish. (73) DeGhett argues that the American public shouldn’t be restrained from viewing graphic content of the war occurring around the world. She believes that incomplete
George Roger Clark was known as the "Conqueror of the Old Northwest" during the American Revolutionary War. George Clark had became a huge help to capturing British and Indian territory, Northwest of the Thirteen Colonies. Clark was a military leader for the American colonists in the American Revolutionary War, helping the Americans be successful in the Northwest, and was known for conquering most of the Northwest Territory for the thirteen colonies. (“George Rogers Clark” 1)
No matter how far Gaines got away from Demopolis or St. Stephens, he would always be called upon to serve in dealings with the Choctaw Indians. William Ward, the federal agent with the Choctaw Indian tribe contacted Gaines about another treaty conference that would be held in Macon, Mississippi. William Ward wanted Gaines and his partner Glover to set up camp near the treaty and supply the food and other supplies for the guest. The treaty conference lasted five days with the Choctaw tribe being divided over the surrender of their land and the removal process. The three head district chiefs and one hundred and sixty eight members of the tribe signed the Treaty of Dancing Rabbit Creek on September 27, 1830. After the signing of the treaty, Gaines received another title, which was the superintendent for the removal and subsistence of Indians.
The Sixties, by Terry H. Anderson, takes the reader on a journey through one of the most turbulent decades in American life. Beginning with the crew-cut conformity of 1950s Cold War culture and ending with the transition into the uneasy '70s, Anderson notes the rise of an idealistic generation of baby boomers, widespread social activism, and revolutionary counterculture. Anderson explores the rapidly shifting mood of the country with the optimism during the Kennedy years, the liberal advances of Johnson's "Great Society," and the growing conflict over Vietnam that nearly tore America apart. The book also navigates through different themes regarding the decade's different currents of social change; including the anti-war movement, the civil rights struggle, and the liberation movements. From the lunch counter sit-in of Greensboro, N.C. in 1960 and the rise of Martin Luther King, Jr. to the Black Power movement at the decade's end, Anderson illustrates the brutality involved in the reaction against civil rights, the radicalization of some of the movement's youth, and the eventual triumphs that would change America forever. He also discusses women's liberation and the feminist movement, as well as the students' rights, gay rights, and environmental movements.
In "Where the girls are: Growing Up Female With the Mass Media," Susan Douglas analyses the effects of mass media on women of the nineteen fifties, and more importantly on the teenage girls of the baby boom era. Douglas explains why women have been torn in conflicting directions and are still struggling today to identify themselves and their roles. Douglas recounts and dissects the ambiguous messages imprinted on the feminine psyche via the media. Douglas maintains that feminism is a direct result of the realization that mass media is a deliberate and calculated aggression against women. While the media seemingly begins to acknowledge the power of women, it purposely sets out to redefine women and the qualities by which they should define themselves. The contradictory messages received by women leave women not only in a love/hate relationship with the media, but also in a love/hate relationship with themselves.
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 had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,
In the duration of one year, 1968, the American national mood shifted from general confidence and optimism to chaotic confusion. Certainly the most turbulent twelve months of the post-WWII period and arguably one of the most disturbing episodes the country has endured since the Civil War, 1968 offers the world a glimpse into the tumultuous workings of a revolution. Although the entire epoch of the 1960's remains significant in US history, 1968 stands alone as the pivotal year of the decade; it was the moment when all of the nation's urges toward violence, sublimity, diversity, and disorder peaked to produce a transformation great enough to blanket an entire society. While some may superficially disagree, the evidence found in the Tet Offensive, race relations, and the counterculture's music of the period undeniably affirm 1968 as a turning point in American history.
In the figure 1920’s they initiated a series of propaganda poster to attract volunteers. Done by a number of different artists and illustrators, these images were designed to strike an emotional and patriotic cord of the observes. The propaganda poster Our Greatest Mother Join, the artist/ illustrator of the propaganda poster was by Cornelius Hicks, he was born in Massachusetts and he was a student at Pratt Institute and had showed tremendous talent in the flied of art, he painted two posters for the American Red Cross. Cornelius Hicks died in 1930 of Tuberculosis at the age of 32.
The New Yorker was launch by Harold Ross on February 21st thanks to the generous financial investment from Raoul Fleischmann who was the founder of General Baking Company (A New Yorker..). The infamous Eustace Tilley, the drawing of the man wearing a monocle, was drawn by Rea Irvin and it has sense become the face of the journal (A New Yorker..). Since The New Yorkers’ inception, “The Talk of The Town” has been a key highlight of the publication due to the raw nature of the editorial staff that contributed. During WWII, when reading “The Talk of The Town” a reader could gain insight as to what the editorial staff felt about the situation at hand and they could possibly relate to the editors on a more personal level. This in turn helped fuel the success of the journal during WWII, which prompted them to publish an overseas edition for the troops (Home Front).
During the sixties and seventies there was an influx of social change movements, from civil rights, gay rights, student’s rights and feminism. In the early sixties the US was experiencing
The fifties era was an era of consensus and order. As a family, there was a certain image to live up to in order fit into the American dream; however, a family only had to appear American and while it may be argued that Doris Goodwin succeeded in life because she grew up in a typical household in the fifties, that is not the case, and in fact, Goodwin’s life in the fifties did not live up to the stereotypical idea of the fifties time period. The image of being American during the fifties was based on consensus which was seen through the typical American neighborhood. All families were religious, the dads went to work while the moms stayed home and the children were at school, and each family had a favorite baseball team; however, it was not the idea of consensus that allowed Goodwin to succeed in life. (Anderson Class note, “Life at Home in the 50’s” 3 April 2014; Anderson Class notes, “Book Discussion” 8 April 2014)
Taken at face value, Norman Mailer’s Armies of the Night and Tom Wolfe’s The Electric Kool-Aid Acid Test may seem very similar. They are both centered on a major author of the 1960s and his experiencing of historical events of the time, while set in the style of New Journalism. When examined closer, though, it becomes apparent that these novels represent two very different sides of New Journalism – Armies of the Night an autobiography with personal and political motivations, The Electric Kool-Aid Acid Test a sociological piece which tries to capture the essence of its subjects rather than the absolute facts. By looking at the form and style which the novels were written in and the motives behind Mailer’s Armies of the Night and Wolfe’s The Electric Kool-Aid Acid Test it is revealed how these novels represent the two major directions which New Journalism can take.
War has always been inevitable throughout the history of the world. The outcomes can differ greatly; it’s usually either a win or a loss. Wins or losses are just definite statements, but photos can represent these statements. Alfred Eisenstaedt’s “V-J Day in Times Square” shows an American sailor kissing a young woman right in the middle of Times Square, despite their surroundings. This iconic photo was taken after the U.S. declared victory over Japan in World War II, and was published in Life magazine a week later. John Gap’s (III) photo shows a young girl being consoled at a soldier’s funeral in a local high school gymnasium, later to be buried at Arlington National Cemetery. This humble photo was taken during the war still raging in Afghanistan, showing that these types of losses happen quite often, as there are no iconic photos for Afghanistan compared to the photo shot after the win over World War II. Unlike its counterpart, this photo was published only at a local level on a website. Both these photos show a soldier being dismissed to go home from war. Although the two photos share that common factor, the scenario in which the soldier comes home differs greatly. Through these photos, Albert Eisenstaedt and John Gaps III help evoke pathos and give the observer a sense of the pride and the devastation felt of a home coming from war using photographic elements such as framing, focus, and angles.