HEADER:
Include your name and the date; the film title, director, date, country,
and studio (in the form: Title. Dir. NAME. Country: studio, date.)
FOCUS:
How [film x] represents [battle, war, situation] for its audience, and what those
choices tell the audience about its content -- what case is being made about the justification
for, conduct of, success or failure of, or the importance of the event for a particular audience.
LOGIC and GOAL:
By comparing [some sets of facts] from [the war, battle, etc. situation depicted
in a film] with the historical facts, the biases of the film and
the audience toward which it is directed reveal themselves,
trying to convince that audience [of what].
ISSUE: facts in history versus those in films
|
IMPLICATION: what's highlighted, suppressed in
this choice, and why that's important
|
EXAMPLE 1:
Starting date:
War started (for that country)=
Film starts =
Ending date:
War started (for that country)=
Film starts =
YOU ADD TWO OR THREE OTHER EXAMPLES: be sure to refer to specifics in the film (scenes, names,
framing, lighting . . . ; see the class handouts on how to read films and wars for ideas)
|
EXAMPLE 1:
[e.g. Saving Private Ryan starts on D-Day, stops before Hiroshima, and so makes US
soldiers the heroes. But this ignores the US's late involvement and its diplomatic failures;
it makes the soldiers heroes -- no partisan politics, no allied command]
|
IMPLICATION:
Address in 1-2 paragraphs what these choices tell us about the filmmaker's
agenda and his/her assessment of the audience:
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