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Explain the definition of a war
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People should realize that war is "part of human society" no matter mythic or sensory; it is first and foremost death and "gross human cruelty"(Hedges 26, 23). Chris Hedges separates mythic reality and sensory reality, in his essay "War is A Force that Gives Us Meaning," explaining that "in mythic war we imbue events with meanings they do not have" and "in sensory reality we see events for what they are" (21). In one of this year films "Letters from Iwo Jima" directed by Clint Eastwood, the sensory reality of World War II is shown through the perspective of Japanese Soldiers that had to guard the island Iwo Jima till the American troops completely destroyed each and every one of them. Governments paint an illusion and propagandized the mythic war for their citizens in order to win a war yet any kind of war is contradictory to the society's desires which, according to Gilbert's essay "Reporting Live from Tomorrow," are reached by transmission of the false beliefs such as where "we must believe that children and money bring happiness, regardless of whether such [things] are true or not"; in this case false beliefs add up to a good outcome for the society, improving its economy and overall population (222). The propaganda of war in a country is reached by same transmission of false beliefs such as ethnic stereotypes yet every war leads to some amount of destruction to the society. However, it is important to recognize that although there are wars that are fought simply out of stupidity and cruelty of the government; some wars, as cruel as they are, are might be fought for something more. But no matter what is the reason for a conflict and no matter how much there is of misunderstanding between the two sides, people should realize that all of us are human in a war that brings death, and that we are all more alike than different although we spent so much time building the wall that separates us.
Mythic war is a lie, a false belief that contradicts any intellectual thinking. We go to war to die - that is the crude reality or the "sensory war." On one hand the mythic war "allows us to make sense of mayhem and violent death," on the other it paints an appealing illusion for the people. The belief of being better, different, and more right than the enemy country goes good along with Gilbert's theory that "we don't always see ourselves as superior, but we almost always see ourselves as unique" (229).
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.
War does leave people with all kinds of trauma as illustrated in the Bao Ninh’s short story “A Marker on the Side of the Boat” and Nicola Zavaglia’s documentary film Barbed Wire and Mandolins. When comparing the effectiveness of conveying the trauma of war towards the audiences, however, the short story “A Marker on the Side of the Boat” is more effective due to its well-developed plot and the emotional responses from the readers arising from the story.
We can see it in our everyday culture with things like Call of Duty and Star Wars. We feed this stuff as kids and we learn from it. He goes on to talk about how we perceive war as a myth. We as the public do not see the true ugliness of it. All we see is what the military and the press wants us to see.
War always seems to have no end. A war between countries can cross the world, whether it is considered a world war or not. No one can be saved from the reaches of a violent war, not even those locked in a safe haven. War looms over all who recognize it. For some, knowing the war will be their future provides a reason for living, but for others the war represents the snatching of their lives without their consent. Every reaction to war in A Separate Peace is different, as in life. In the novel, about boys coming of age during World War II, John Knowles uses character development, negative diction, and setting to argue that war forever changes the way we see the world and forces us to mature rapidly.
In conclusion, while books, photos, movies and other historical documentation can portray information or a message about wartime events, they will never be able to produce the feelings of those that were personally involved in wars have experienced. Yet, it is incorrect to criticize these writers. The information they reveal is still very important historical information. Even if a reader or viewer of this media cannot feel exactly the same emotions as those involved, they still often experience an emotional connection to the events being depicted. This is important, not only for the historical knowledge gained about wars, but also to understand the nature and futility of their occurrence.
In the books All Quiet on the Western Front by Erich Maria Remarque and The Wars by Timothy Findley, there is clear evidence of the nature of war. With all the efforts of preparation, discipline, and anticipation, false hopes were created for the young individuals, who leave the battlefields with numerous emotional and physical scars. The propaganda and disciplinary training to convince naïve young men to go to battle to fight for their country, the death of their comrades, and the physical breakdown are all part of twentieth century warfare.
Even though the films “Battleship Potemkin”, “From Here to Eternity” and “Saving Private Ryan” are all movies based on military life during war time the variation in time periods and culture made each film very different. These differences did not take away from the impact the films had on their audiences at the time or the messages they were each trying to covey. The Horrific images and hear wrenching scenarios helped to evoke strong emotions and patriotic feeling from audiences allowing film makers to pass along their truths. Thru these films we are magically transported to several dark periods in the world history and left to experience the pain, fear, isolation and ultimately the triumph of these soldiers’ lives.
Prideaux, T. "Take Aim, Fire at the Agonies of War." Life 20 Dec. 1963: 115-118. Rabe, David. "Admiring the Unpredictable Mr. Kubrick." New York Times 21 June 1987: H34+
As can be seen, Paul Boyer, Tim O’Brien, and Kenneth W. Bagby, convey the notion that war affects the one’s self the most. Through the use of literary devices: tone, mood, pathos, and imagery, these 3 authors portray that war affects a person’s self most of all. War is not only a battle between two opposing sides, but it can also be a mental conflict created within a person. Although war is able to have an effect on physical relationships between family, friends, or even society, conflict within oneself is the most inevitable battle one must face during war times.
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.
In Hedges' first chapter of the book titled, "The Myth of War," he talks about how the press often shows and romanticizes certain aspects of war. In war there is a mythic reality and a sensory reality. In sensory reality, we see events for what they are. In mythic reality, we see defeats as "signposts on the road to ultimate victory" (21), Chris Hedges brings up an intriguing point that the war we are most used to seeing and hearing about (mythic war )is a war completely different than the war the soldiers and journalists experience ( sensory war), a war that hides nothing. He states, "The myth of war is essential to justify the horrible sacrifices required in war, the destruction and death of innocents. It can be formed only by denying the reality of war, by turning the lies, the manipulation, the inhumanness of war into the heroic ideal" (26). Chris Hedges tries to get the point across that in war nothing is as it seems. Through his own experiences we are a...
...ke the reader suffer, but to create recognition of the psychosis involved in co-existing with war.
Terrence Malick’s The Thin Red Line (1998) is a film that examines the Guadalcanal Battle of World War II, looking past the physical results of the violence, in order to uncover the deeper truths and ramifications of war. The film conveys themes and ideologies that are somewhat uncommon to war films, especially WW II films. In this dark, surreal, journey, Malick takes us inside the minds of soldiers experiencing this battle to capture a remote pacific island from the Japanese. We do not hear or see gruff, hardened soldiers, anxious to die for their country. In fact, there are no heroes in The Thin Red Line. There are only regular men, scared of fighting and scared of dying, who have been thrown into a situation that will forever change their lives. The fighting is not suspenseful or glorious just brutal. Using an ideological approach to the study of film, this paper will examine The Thin Red Line’s messages about the truths of war, and how it challenges our society’s stereotypical view of war as a valiant undertaking where brave men fighting for good battle the evil of the enemy. Consequently, the ideologies that are uncovered will then be used to look at The Thin Red Line as a war film, and how it fits and does not fit into the genre.
...ew war as a positive and inevitable part of life they act accordingly. If the public was shown the real horrors of war they would be shocked by what they see and view war for what it really is, a tool that governments uses for its own benefit regardless of how horrible it is. The public would act differently. There would be more protests against war because people would realize that it is not the most efficient or effective way of achieving goals. Congressmen would be less inclined to vote to engage in war for fear of displeasing their constituents and there would be less war, less lives lost, and more exploration in to diplomatic negotiations. War should be reserved for the defense of a nation. With war movies, the movie industry has a very large influence on public perception and as of now this influence is not being used appropriately for the good of humankind.
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