Course Description and Syllabus (Subject to Revision) War Films and American History HIST UA 175 Spring 2012

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1 Course Description and Syllabus (Subject to Revision) War Films and American History HIST UA 175 Spring 2012 Instructor: Jeffrey T. Sammons Office: Rm 616, 53 Wash Sq South Time: Thurs 2-4:45 Phone: Place: TBD Purpose: Hrs: Tues and Thurs and by appointment In this course, we will explore how visual representations of war in various media and genres have influenced, challenged, and, in ways, transformed national identity and citizenship in the United States. As such, the course should make clear that war films do more than tell stories and entertain audiences. Films convey the social values and the mores of the period in which they produced and address attitudes not only toward war, but also toward topics closely associated with war, such as the morality of fighting, the justness of war, the definition of heroism, and the responsibility of the individual to exhibit ethical behavior. Of course, the representations of causes and enemies relate integrally to justifications for waging war and the modes of prosecuting it. Times of war effect rapid changes in national ideas about citizenship and belonging and film/television/newsreels/cartoons, with their capacity to reach millions in accessible and acceptable forms, perhaps have unparalleled means to shape values and beliefs about self and others. As a workshop, this course will explore the relationship of war films to written history and the ways in which visual representations of the past and history in words compete with and complement one another in which both forms might be in lesser or greater measures, according to Robert Rosenstone, a mode of thought, a process, a particular way of using the traces of the past to make that past meaningful in the present. Required Readings: Robert Eberwein, ed., The War Film Marilyn J. Matelski, War and Film in America (possible slelection) Peter C. Rollins, Why We Fought: American Wars in Film and History (possible selection) All other readings have been or will be listed under each lesson. Most, if not all, will be available on Black Board. Course Requirements:

2 Reviews and/or mini-review essays Based on the required reading, these are to be 4-6 pages in length (no more than 6, double spaced, 12 font). Letter grades will be assigned. They will be evaluated on style, grammar, content, and analysis. The components are: 1. Synopsis of readings 2. Discussion of strengths and weaknesses 3. Analysis of methods, approach, and style 4. Comparison and/or contrast of two or more works(mini-review essays) 5. How the works inform each other(mini-review essays) Response Papers An exercise to help organize thoughts about a work and to identify key issues. Think of them as detailed notes and questions. Graded on a pass/fail basis (P+, P, P-, F) Methods Exercises Involve explorations of the craft and methods of writers of history and visual representatives of same. Both written history and history in images shape facts and employ interpretation in the telling of stories. Methods exercises should be about how, why, and to what effect each goes about its work. Class discussion Students are expected to attend all classes and contribute meaningfully to class discussions as evidence of apprehension and comprehension of the materials. Final Paper In 8-12 pages, develop a critical analytical essay of the film(s) proposed by you and explore its value as an historical and political instrument and as an artistic creation. The focus should not be so much with the film s adherence to factual accuracy but more about how it is an historical artifact that speaks to the times and audience as well as its makers. Late policy Un-excused late reviews and mini-review essays will be reduced a letter grade. Un-excused late pass/fail assignments will result in failure. Un-excused late research papers will be reduced by ½ grade. Any student who needs an extension of the review essay must reach a contractual agreement with the instructor or suffer the grade reduction. Attendance 1. No one will be admitted to the class who is more than 10 minutes late. 2. Each un-excused absence will result in a half-point reduction of final grade. Excused absences are for religious holidays, documented medical conditions and/or treatment, documented athletic events, and other legitimate, documented events.

3 3. No one should leave class before its ends unless permission is sought and granted in advance. Plagiarism The use of the ideas and words of another without proper attribution is strictly prohibited and will result in sanctions in accordance with official university policy. Schedule Jan 26: Introductions, Expectations, and Discussion of Course Requirements and Objectives. Screening: Scenes from Birth of a Nation Feb 2: Birth of a Nation : Race, Sexuality, and Citizenship Readings: Rosenstone, History in Images, History in Words ; Wallace, (Birth of a Nation) The Good Lynching ; Rogin, ( Birth of a Nation ) The Sword Became a Flashing Vision Assignment: Response paper (4-5 pages) Screening: Glory Feb 9: Another View of the Civil War Readings: Burgoyne, Race and Nation in Glory in Eberwein; Glatthaar, Review of Glory ; Rosenstone, The Historical Film Assignment: Essay on Glory and readings Screening: All Quiet on the Western Front Feb 16: WWI: A Senseless War? Readings: Burgess, The Anti-Militarism of Stanley Kubrick ; Kelly, The Greatness and Continuing Significance of All Quiet on the Western Front in Eberwein; Godmillow and Shapiro, How Real is Reality: Documentary Film ; Screening: Clips of WWI documentaries, including WWI Films of the Silent Era Assignment: Discussion of readings and All Quiet Feb 23: The Good War on Screen Readings: Basinger, The World War II Combat Film: Definition in Eberwein; Slocum, Rethinking Violence in WWII Film; Rogin, Home of the Brave ; and Koppes, Black Loyalty and War Film. Screening: Home of the Brave Assignment: Discussion of readings and film Mar 1: WWII Hollywood and Its Soldiers Readings: Propaganda in News Reels and Film ; Desser, Japanese Propaganda Film, WWII ; Rentscher, German Cinema ; Worland, Monsters Meet Soldiers. Screening: WWII documentaries and news reels as propaganda ( Why We Fight, Japanese Relocation

4 Assignment: Formal review essay on Home of the Brave and related essays from October 7. Mar 8: Cold War Readings: Briley, Reel War ; Rogin, Kiss Me Deadly: Communism, Motherhood, and Cold War Movies ; Screening Politics: James Bond and Early Cold War. Screening: Dr. Strangelove Mar 22: Cold War (Cont d) Readings: Sorlin, American Cinema During the Cold War ; FBI and Hollywood Cold War ; Screening: Clips of documentaries Assignment: Response paper Mar 29: Korean War Readings: Carruthers, Redeeming the Captives: Prisoners of War in Korea ; Armstrong, The Cultural Cold War in Korea ; Diffrient, Military Enlightenment: South Korea s Golden Age of War Films. Screening: Documentary on families caught in the aftermath of war Apr 5: Vietnam Readings: Jeffords, The Reagan Hero: Rambo in Eberwein; Modleski, Do We Get to Lose This Time? Revising the Vietnam War Film in Eberwein Screening: Coming Home Assignment: Discussion Apr 12: Vietnam (cont d) Readings: Williams, Concealment and Disclosure in War Films from Birth of a Nation to Vietnam ; Woodman, Represented in the Margins: Images of African American Soldiers in Vietnam War Combat Films in Eberwein; Polan, Auteurism and War-teurism: Terrence Malick s War Movie in Eberwein Screening: Clips from Vietnam War documentaries Assignment: Formal review essay on Vietnam War using readings from Nov 9 and 16 and Coming Home. Apr 19: Women and War Readings: White, Rehearsing Feminism: Women/History in The Life and Times of Rosie the Riveter and Swing Shift ; Tasker, Soldier s Stories: Women and Military Masculinities in Courage Under Fire ; Screening: Courage Under Fire Assignment: Discussion Apr 26: Gulf War and Iraq

5 Readings: Auster, Saving Private Ryan and American Triumphalism ; Derian, Virtuous War/Virtual Theory ; Cromb, War Films without War. Screening: Why We Fight: The Middle East and the Military Industrial Complex Assignment: Response paper May 3: War on Terror Readings: Shaheen, Reel Bad Arabs ; Wetta and Novelli, Hollywood s New Patriotism ; Screening: Films on Arab Israeli conflict and 9/11 May 10: Final paper (Classes meet on Thursday Schedule)