Saving Private Ryan
In his review of the film “Saving Private Ryan”, N.Cull claims that the film presents… “a realistic depiction of the lives and deaths of G.I’s in the European theatre in World War II”. Do you agree with his assessment of the film? Argue your case.
N.Cull’s assessment of the film Saving Private Ryan in that it portrays “a realistic depiction of the lives and deaths of G.I’s in the European theatre in World War II” is an accurate one. Director Stephen Spielberg brings to the audience the “sheer madness of war” and the “search for decency” within it. That search ends for a group of soldiers whose mission it is too save Private Ryan. Although the film shows horrific and realistic battle scenes along with historically correct settings and situations with weapons and injuries true to their time, the film’s portrayal of war goes a lot deeper than that. The expressions and feelings of soldiers along with their morals and ideology are depicted unifyingly with the horror of war. The lives and deaths of American soldiers in the immediate part of the invasion of Normandy are illustrated more realistically than ever before. Saving Private Ryan captures the “harsh reality of war as authentically as possible”.
The films historical accuracy of the Omaha beach landing begins with the “angry sea” and the timing of the attack, taking place at dawn. The film starts with Ryan in old age remembering his fallen comrades and then the story goes back in time to the events from there. A group of armed soldiers aboard a transport vessel look almost discarnate as the boat is tossed around the ocean. The soldiers do not pay attention to the orders they are given. (Perhaps a cause of why there is so much confusion and disorganisa...
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...Ryan may not be a complete representation of the invasion of Normandy because of its need to provide a storyline and make a profit at the cinemas. Yet its accurate historical detailing enables N. Culls assessment of the film to be “a realistic depiction of the lives and deaths of G.I’s in the European theatre in World War II”
Bibliography
Primary Sources
D. Breger. Private Breger in Britain. London, 1944
J. Robert Slaughter. D-Day, 1944. Source analysis.
Sir W. Churchill. Words at War. June 15, 1940
Secondary Sources
American Historical Review. Vol 103 no 4. October 1998
R. Wolfson. Years of Change 1891-1995. Hudder and Slaughton. London, 1993.
S. Spielberg. Saving Private Ryan: The Men. The Mission. The Movie. http://www80.homepage.villanova.edu/james.dion/over.html 18/09/2001
T. Edwards. D-Day. Wayland Publishers. London, 1975.
“The war correspondent is responsible for most of the ideas of battle which the public possesses … I can’t write that it occurred if I know that it did not, even if by painting it that way I can rouse the blood and make the pulse beat faster – and undoubtedly these men here deserve that people’s pulses shall beat for them. But War Correspondents have so habitually exaggerated the heroism of battles that people don’t realise that real actions are heroic.”
Many times readers lose interest in stories that they feel are not authentic. In addition, readers feel that fictitious novels and stories are for children and lack depth. Tim O’ Brien maintains that keeping readers of fiction entertained is a most daunting task, “The problem with unsuccessful stories is usually simple: they are boring, a consequence of the failure of imagination- to vividly imagine and to vividly render extraordinary human events, or sequences of events, is the hard-lifting, heavy-duty, day-by-day, unending labor of a fiction writer” (Tim O’ Brien 623). Tim O’ Brien’s “How to Tell a True War Story” examines the correlation between the real experiences of war and the art of storytelling. In O’Brien’s attempt to bridge the gap between fiction and non-fiction, the narrator of the story uses language and acts of violence that may be offensive to some.
Known today as two of the most prominent American satirists, Joseph Heller and Kurt Vonnegut both served time as soldiers during World War II, Heller serving as a bombardier in Italy (Scoggins) and Vonnegut as a soldier and prisoner of war in Germany (Parr). Not coincidentally, both Heller’s 1961 novel Catch-22 and Vonnegut’s 1969 novel Slaughterhouse-Five, or The Children’s Crusade: A Duty-Dance with Death follow the journeys of young men in combat during the Second World War – Captain John Yossarian of the US Army Air Forces and soldier Billy Pilgrim, respectively. While it is evident that these fictional novels are both set during the World War II era and convey bleak images of war, closer inspection of both texts brings to light the common
The purpose of this essay is to inform on the similarities and differences between systemic and domestic causes of war. According to World Politics by Jeffry Frieden, David Lake, and Kenneth Schultz, systemic causes deal with states that are unitary actors and their interactions with one another. It can deal with a state’s position within international organizations and also their relationships with other states. In contract, domestic causes of war pertain specifically to what goes on internally and factors within a state that may lead to war. Wars that occur between two or more states due to systemic and domestic causes are referred to as interstate wars.
The Novum presented in Starship Troopers is the rule of the Veterans and the resulting primacy of the military. This Novum sets the novel up as a utopic pandering to a readership demographic that the author himself is a member of. This is a normative sci-fi construction. Starship Troopers deviates in that the true target readership is the young man who has not yet been given a chance to join up. He is meant to gain a favorable understanding of the military man by sharing in his dream. The dream then - the world created – is the persuasive device.
...rian thought, although if it was looked upon as Sgt. Miller did it the movie, the thought could also defend it. It could be argued that the number of men lost during battle was to save 10 or 20 times as many. In war, our armed forces also defend Deontology because it is a foundational duty and character is displayed through actions. The morality of our actions is based upon whether that action itself is right or wrong, rather than centered on the consequences of the actions. The movie carries the thought that American should lead morally standing, socially respectable lives to earn the freedom that our soldiers in battle have paid for with their lives. Hence the veteran at the gravesite in the beginning of the movie is Private James Ryan. He speaks to the grave of Captain John Miller saying he has fervently tried to “earn” his rescue by the captain and his men.
Rethinking Violence: States and Non-state Actors in Conflict. Cambridge, Mass: MIT Press, 2010. eBook Collection (EBSCOhost), EBSCOhost (accessed April 22, 2014).
Johnson, T. (2011). S.P.I.D.E.R. A strategy for evaluating websites. Library Media Connection, 29(6), 58-59. Retrieved from http://web.b.ebscohost.com.proxy.devry.edu/ehost/pdfviewer/pdfviewer?sid=a1fe208a-6fb8-4e68-8191-7ef041e2d483%40sessionmgr111&vid=25&hid=113
Although the book did an incredible job in explaining every detail and story that happened throughout the day and preceding night, the movie did a much better job in helping the viewer visualize the entire ordeal. Without the film there would be no real way to understand how massive and tragic the invasion was, unless you were there. Which is one reason why both the book and the movie are both so accurate. Because Ryan had based everything in his book on his own personal accounts and hundreds of veteran accounts. The writers, directors, and producer successfully realized their goal of a truly exact D-day film, and they did it without a consistent story or gore. While the stories in the movie were weak and were never truly completed, the movie and book still left the viewer satisfied with what they had watched or read. Without Ryan’s book, I doubt that there would be a D-day movie out that accomplished the same goal of realism that Zanuck’s The Longest Day had.
Obesity has been accepted in the American society as a norm. According to the U.S. office of the Surgeon General, in 1999, 6 in 10 American adults were classified as obese or overweight (McMurray, par. 5). In order for one to be classified as obese they’re body mass index (BMI) must be 30 or greater. The number of obese in America has continued to increase. It has been estimated by The World Health Organization that 300 million people will be obese by 2025 (Bailey 3). Since obesity comes with many health risks, many feel it should be treated as a disease.
As a health care professional it is our position statement that obesity should be considered as a disease. Overweight and obese adults are considered at risk for developing diseases such as type II diabetes, hypertension, high blood cholesterol, coronary heart disease, and certain type of cancers. An average of 300,000 deaths is associated with obesity and the total economic cost of obesity in U.S. was about $ 117 billion in 2000. As health care professionals it is our responsibility to increase public awareness of health consequences of over weight and obesity. Obesity as a disease: Obesity fits all the definitions of ‘disease’, that is, interruption in bodily function.
The art of war has been a vital aspect of state-making throughout history. Max Weber contends in his essay, Politics as a Vocation, that the State is a “human community that (successfully) claims the monopoly of the legitimate use of physical force within a given territory” (Weber, 77), a definition that political experts cite to this day. However, many scholars today believe that we have created a new type of warfare, one that questions the validity of the statehood of current international powers as well as Weber’s own precedent for identifying States.
Obesity is a serious condition that has generated a discussion on whether or not to be classified as a disease. According to the Centers for Disease Control and Prevention (CDC), obesity is the body mass index (BMI) of 30 or higher, which is calculated based on the person’s height and weight. For years, our society has been facing the obesity challenge, which can be extremely costly once it leads to several diseases. Thus, because of the constant increase of percentage of people with obesity, the American Medical Association (AMA) proposed in June 18, 2013 to classify obesity as a disease. Their argument was that obesity increases the risks of countless health conditions such as type 2 diabetes, coronary heart disease, stroke, hypertension etc. Moreover, it increases morbidity and mortality. By considering obesity as a disease, their aim was to maximize researches and funding, which will focus on obesity from different medical and health approach levels. Their idea of classifying obesity as a disease was in accordance with the National Heart, Lung and Blood Institute’s declaration of 1995. The institute declared, “ Obesity is a complex multifactorial chronic disease developing from multiple interactive influences of numerous factors.” In 2012, the CDC data showed 34.9% of adults obese and 17% of obese children. These numbers are very alarming especially since the struggle to deter certain factors contributing into this condition is still a challenge. Among the struggles, there are the people’s rights versus health regulations to keep them as healthy as possible like the former mayor Bloomberg regulation on soft drinks size cut. During CNN’s show GPS of Sunday 2, 2014, the host Zacharia...
There is an intellectual discussion over the accuracy of war films and whether or not these should focus more on telling the truth or decorating it a little. Indeed, the narrative of war films has change throughout the years because the purpose of such films has evolved, especially those representing the World War II years and the aftermath. At the time of war, films were employed with diverse objectives for example to urge the public to support the war, to narrate the latest events, or to rebuild the image of the heroes. Most of the times the perspectives of films could vary depending on the country the film was produced in or which side of the story was being narrated. The plot of most war films might not be real, but they were necessary
Tilly, C. (1985). War Making and State Making as Organized Crime. In: P.B Evans, D. Rueschemeyer & T. Skocpol Bringing the state back in. Cambridge: Cambridge University Press. 171.