Old: According to Davidson and Lytle, Saving Private Ryan would be considered an authentic movie compared to being mythical which "will always .... historical evidence" (427).
New: According to Davidson and Lytle, Saving Private Ryan would be considered an authentic movie compared to being mythical: "myths of the cinema will always .... historical evidence" (427).
Old: Again, according to Davidson and Lytle, “for Cimino, ... the war’s historical context” (418), throughout the time when orders kept changing with the captain's decision.
New: Again, with Davidson and Lytle's perception throughout the time when orders kept changing with the captain's decision, “authenticity ...the war’s historical context” (418).
Wednesday, October 24, 2007
Old: Davidson and Lytle wrote, “There are, of course, a number of straightforward ways to evaluate historical dramas. We can give each film a scrupulous fact-checking to determine which parts are true and which are false” (Davidson 403).
New: Davidson and Lytle acknowledges that, "there are, of course a number of straightforward ways to evaluate historical dramas. We can give each film a scrupulous fact-checking to determine which parts are true and which are false” (Davidson 403).
Old: Windtalkers has some sort of a myth Davidson and Lytle talk about called, “the American melting pot, in which immigrants from a multitude of ethnic backgrounds learn to live in a single nation” (Davidson 406).
New: Davidson and Lytle makes note of the myth of "the American melting pot, in which immigrants from a multitude of ethnic backgrounds learn to live in a single nation” (Davidson 406), which is shown in the film Windtalkers.
New: Davidson and Lytle acknowledges that, "there are, of course a number of straightforward ways to evaluate historical dramas. We can give each film a scrupulous fact-checking to determine which parts are true and which are false” (Davidson 403).
Old: Windtalkers has some sort of a myth Davidson and Lytle talk about called, “the American melting pot, in which immigrants from a multitude of ethnic backgrounds learn to live in a single nation” (Davidson 406).
New: Davidson and Lytle makes note of the myth of "the American melting pot, in which immigrants from a multitude of ethnic backgrounds learn to live in a single nation” (Davidson 406), which is shown in the film Windtalkers.
Quotes Updated
Original Quote:
We embraced at face value the messages of these stories and most of us, especially those of us who have never been in combat, never doubted what we saw. And why would we, these stories reinforced “our cultural ideals or gave expression to deep commonly felt emotions” (Were Trouble Comes 406).
I believe Davidson and Lytle would find that “We Were Soldiers” is the more authentic of the two movies not because it accurately portrays historical events in their entirety, after all, this is a Hollywood feature film and “dramatic films about history do not portray what actually happened in the past so much as what ought to have happened” (Were Trouble Comes 405).
As he quickly exits the compartment where a soldier is smoking a cigar, another soldier says” they sure picked a beaut’ for acting platoon sergeant” (To Hell and Back)
New Quote:
We embraced at face value the messages of these stories because they reinforced “our cultural ideals or gave expression to deep commonly felt emotions” especially those of us who have never been in combat (Were Trouble Comes 406).
A soldier who witness Murphy’s exit from the compartment where a soldier is smoking a cigar comments: ”they sure picked a beaut’ for acting platoon sergeant” (To Hell and Back).
According to Davidson and Lytle, “dramatic films about history do not portray what actually happened in the past so much as what ought to have happened” therefore I believe they would find “We Were Soldiers” the more authentic of the two movies.(405).
We embraced at face value the messages of these stories and most of us, especially those of us who have never been in combat, never doubted what we saw. And why would we, these stories reinforced “our cultural ideals or gave expression to deep commonly felt emotions” (Were Trouble Comes 406).
I believe Davidson and Lytle would find that “We Were Soldiers” is the more authentic of the two movies not because it accurately portrays historical events in their entirety, after all, this is a Hollywood feature film and “dramatic films about history do not portray what actually happened in the past so much as what ought to have happened” (Were Trouble Comes 405).
As he quickly exits the compartment where a soldier is smoking a cigar, another soldier says” they sure picked a beaut’ for acting platoon sergeant” (To Hell and Back)
New Quote:
We embraced at face value the messages of these stories because they reinforced “our cultural ideals or gave expression to deep commonly felt emotions” especially those of us who have never been in combat (Were Trouble Comes 406).
A soldier who witness Murphy’s exit from the compartment where a soldier is smoking a cigar comments: ”they sure picked a beaut’ for acting platoon sergeant” (To Hell and Back).
According to Davidson and Lytle, “dramatic films about history do not portray what actually happened in the past so much as what ought to have happened” therefore I believe they would find “We Were Soldiers” the more authentic of the two movies.(405).
Old: The film starts out with a monologue by the main character, Swofford, “A story: A man fires a rifle for many years, and he goes to war. And afterward he turns the rifle in at the armory, and he believes he's finished with the rifle. But no matter what else he might do with his hands, love a woman, build a house, change his son's diaper; his hands remember the rifle”.
New: Swofford remarks in a monologue, “A story: A man fires a rifle for many years, and he goes to war. And afterward he turns the rifle in at the armory, and he believes he's finished with the rifle. But no matter what else he might do with his hands, love a woman, build a house, change his son's diaper; his hands remember the rifle”.
Old: Davidson and Lytle describe what they believe myth is through this quote, "And because myth deals with expectations rather than reality, Cimino obliged"(417).
New: Davidson and Lytle feel that "myth deals with expectations rather than reality" (417) and that is how they gauge a movie's "mythical" status.
New: Swofford remarks in a monologue, “A story: A man fires a rifle for many years, and he goes to war. And afterward he turns the rifle in at the armory, and he believes he's finished with the rifle. But no matter what else he might do with his hands, love a woman, build a house, change his son's diaper; his hands remember the rifle”.
Old: Davidson and Lytle describe what they believe myth is through this quote, "And because myth deals with expectations rather than reality, Cimino obliged"(417).
New: Davidson and Lytle feel that "myth deals with expectations rather than reality" (417) and that is how they gauge a movie's "mythical" status.
Quote Revision
Old: Davidson and Lytle argue that, “an artistic standard of ‘truth’ that resides less in the particulars of the historical record than in rendering situations and characters in authentic, human ways” (Davidson 405).
New: Davidson and Lytle carry the message films utilize insignificant situations, exaggerate and improve them, hence converting them into important factors as they insist, “an artistic standard of ‘truth’ that resides less in the particulars of the historical record than in rendering situations and characters in authentic, human ways” (Davidson, Lytle 405).
Old: Davidson and Lytle analyze a film entitled Deer Hunter as rather mythic according to it’s “story and images” (Davidson 416), but “the dialogue is more natural, less stilted” (Davidson 416), showing factors of authenticity.
New: Davidson and Lytle analyze a film entitled Deer Hunter as rather mythic according to it’s “story and images," but “the dialogue is more natural, less stilted” showing factors of authenticity. (Davidson, Lytle 416).
Old: Davidson and Lytle clearly disagree as they show resentment towards the film as much as the setting of the film not agreeing with the actual filming area stating: “Clairton is an imaginary town, created by shooting in eight different locations spread over four states. Its imposing Russian Orthodox Church is from Cleveland and is twice the size of anything a town like Clairton might afford” (Davidson 417).
New: According to Davidson and Lytle: “Clairton is an imaginary town, created by shooting in eight different locations spread over four states. Its imposing Russian Orthodox Church is from Cleveland and is twice the size of anything a town like Clairton might afford," and this factual seting of the film does not agree with the the film itself (Davidson 417).
New: Davidson and Lytle carry the message films utilize insignificant situations, exaggerate and improve them, hence converting them into important factors as they insist, “an artistic standard of ‘truth’ that resides less in the particulars of the historical record than in rendering situations and characters in authentic, human ways” (Davidson, Lytle 405).
Old: Davidson and Lytle analyze a film entitled Deer Hunter as rather mythic according to it’s “story and images” (Davidson 416), but “the dialogue is more natural, less stilted” (Davidson 416), showing factors of authenticity.
New: Davidson and Lytle analyze a film entitled Deer Hunter as rather mythic according to it’s “story and images," but “the dialogue is more natural, less stilted” showing factors of authenticity. (Davidson, Lytle 416).
Old: Davidson and Lytle clearly disagree as they show resentment towards the film as much as the setting of the film not agreeing with the actual filming area stating: “Clairton is an imaginary town, created by shooting in eight different locations spread over four states. Its imposing Russian Orthodox Church is from Cleveland and is twice the size of anything a town like Clairton might afford” (Davidson 417).
New: According to Davidson and Lytle: “Clairton is an imaginary town, created by shooting in eight different locations spread over four states. Its imposing Russian Orthodox Church is from Cleveland and is twice the size of anything a town like Clairton might afford," and this factual seting of the film does not agree with the the film itself (Davidson 417).
So this is like what Davidson and Lytle say in “Where Troubles Comes”, “, filmmakers are constantly constructing their version of history…” (409).
Davidson and Lytle also think that "filmmakers are constantly constructing their [own] version of history" and don't stay true to the facts (409).
“Jarhead noun, slang for marine. Origin from the resemblance to a jar of the regulation of high-and-tight haircut. The marines head by implication therefore also a jar, an empty vessel.” Swofford says this in the movie Jarhead
Swofford lets us know why the marines are called jarheads: “Jarhead noun, slang for marine. Origin from the resemblance to a jar of the regulation of high-and-tight haircut. The marines head by implication therefore also a jar, an empty vessel”.
Quotes
Old:
"The dialogue is more natural, less stilted(416)."
New:
Like Davidson and Lytle stated in " Where Trouble Comes," " The dialogue is more natural, less stilted(416).
Old:
"No matter how "true" a feature film tries to be to the emotions of it's characters, its makers will always place dramatic considerations above strict fidelity to the historical record(405).
New:
Davidson and Lytle agree on that, "No matter how "true" a feature film tries to be to the emotions of it's characters, its makers will always place dramatic considerations above strict fidelity to the historical record" (405), proves that even the moment of a son leaving his house because of disagreement of war issues.
"The dialogue is more natural, less stilted(416)."
New:
Like Davidson and Lytle stated in " Where Trouble Comes," " The dialogue is more natural, less stilted(416).
Old:
"No matter how "true" a feature film tries to be to the emotions of it's characters, its makers will always place dramatic considerations above strict fidelity to the historical record(405).
New:
Davidson and Lytle agree on that, "No matter how "true" a feature film tries to be to the emotions of it's characters, its makers will always place dramatic considerations above strict fidelity to the historical record" (405), proves that even the moment of a son leaving his house because of disagreement of war issues.
Revised Quotes
Old:
"Are the costumes right? Did a historical figure do the things he or she is said to have done on screen? If the characters are fictional, are they representative of historical figures in similar situation?" (Davidson 403).
New:
Davidson and Lytle would base their definition of "authentic" on the following: "Are the costumes right?..................in a similar situation" (Davidson 403)?
Old:
"A myth, to quote one dictionary definition........deep commonly felt emotions" (Davidson 405).
New:
As Davidson and Lytle reveal, "A myth.......commonly felt emotions" (Davidson 405).
"Are the costumes right? Did a historical figure do the things he or she is said to have done on screen? If the characters are fictional, are they representative of historical figures in similar situation?" (Davidson 403).
New:
Davidson and Lytle would base their definition of "authentic" on the following: "Are the costumes right?..................in a similar situation" (Davidson 403)?
Old:
"A myth, to quote one dictionary definition........deep commonly felt emotions" (Davidson 405).
New:
As Davidson and Lytle reveal, "A myth.......commonly felt emotions" (Davidson 405).
Old:
An example of this statement, is told in Tim O'Brien's "How to Tell a True War Story", he goes on to say: "A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things they have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue " (1).
New:
Tim O'Brien, author of "How to Tell a True War Story", provides us with an example of this idea by stating,
"A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things they have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue" (1).
Old:
An example of this would be when Davidson and Lytle, authors of "Where Trouble Comes", had said in the text "myth deals with expectations rather than reality" (417).
New:
Davidson and Lytle, authors of "Where Trouble Comes" establish the difference between authenticity and myth by elaborating on this idea: "myth deals with expectations rather than reality" (417).
An example of this statement, is told in Tim O'Brien's "How to Tell a True War Story", he goes on to say: "A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things they have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue " (1).
New:
Tim O'Brien, author of "How to Tell a True War Story", provides us with an example of this idea by stating,
"A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things they have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue" (1).
Old:
An example of this would be when Davidson and Lytle, authors of "Where Trouble Comes", had said in the text "myth deals with expectations rather than reality" (417).
New:
Davidson and Lytle, authors of "Where Trouble Comes" establish the difference between authenticity and myth by elaborating on this idea: "myth deals with expectations rather than reality" (417).
Tuesday, October 23, 2007
Old
In the article where trouble comes by Davidson and Lytle they speak about how in the Movie the Green Barriet with John Wayne, they make the American soldier out to be a stereotypical macho man. They state, “Wayne ........... Tough" (405).
New
In the article where trouble comes Davidson and Lytle suggest that in the movie Green Barriet John Wayne is portryaed as a sterotypical American tough guy: " "Wayne.......... Tough". (405)
Old
Davidson and Lytle suggest that these movies are mythical in different aspects. They want to make the point that movie companies write their own version of the war, rather than historical facts which they call “Authentic“. Davidson and Lytle authors state, “Grant .............. happend"
New
Davidson and Lytle point out that Green Barriets, Platoon and Deer Hunter are "Mythical". The authors explaine this by stating " Grant......... happend" .
In the article where trouble comes by Davidson and Lytle they speak about how in the Movie the Green Barriet with John Wayne, they make the American soldier out to be a stereotypical macho man. They state, “Wayne ........... Tough" (405).
New
In the article where trouble comes Davidson and Lytle suggest that in the movie Green Barriet John Wayne is portryaed as a sterotypical American tough guy: " "Wayne.......... Tough". (405)
Old
Davidson and Lytle suggest that these movies are mythical in different aspects. They want to make the point that movie companies write their own version of the war, rather than historical facts which they call “Authentic“. Davidson and Lytle authors state, “Grant .............. happend"
New
Davidson and Lytle point out that Green Barriets, Platoon and Deer Hunter are "Mythical". The authors explaine this by stating " Grant......... happend" .
Quotes
Old:
O'Brien mentions in "How to Tell a True War Story" that true war stories often don't have a point, moral, or serious excitement (O'Brien, "How to Tell a True War Story", 174 and 181).
New:
O'Brien tells us thattrue war stories often don't have a point, moral, or serious excitement (O'Brien, "How to Tell a True War Story", 174 and 181).
Old:
They define mythical as "... a real or fictional story with a recurring theme" (Davidson and Lytle, 405)
New:
According to Davidson and Lytle "a real or fictional story with a recurring theme..." is a defintion for myth (Davidson and Lytle, 405)
O'Brien mentions in "How to Tell a True War Story" that true war stories often don't have a point, moral, or serious excitement (O'Brien, "How to Tell a True War Story", 174 and 181).
New:
O'Brien tells us thattrue war stories often don't have a point, moral, or serious excitement (O'Brien, "How to Tell a True War Story", 174 and 181).
Old:
They define mythical as "... a real or fictional story with a recurring theme" (Davidson and Lytle, 405)
New:
According to Davidson and Lytle "a real or fictional story with a recurring theme..." is a defintion for myth (Davidson and Lytle, 405)
Rework on quotations
Original:
Tim O'Brien, an American novelist once said in his article "How to Tell a True War Story" that "War is Hell; War is nasty; war is fun.....war makes you dead."(180)
New:
As Tim O'Brien described in his article "How to Tell a True War Story" that " War is Hell;... war makes you dead."(180)
Original:
"Films strive for an ... human ways." ( Davidson & Lytle 405)
New:
According to Davidson & Lytle, "Films strive for an ... human ways." (405)
Tim O'Brien, an American novelist once said in his article "How to Tell a True War Story" that "War is Hell; War is nasty; war is fun.....war makes you dead."(180)
New:
As Tim O'Brien described in his article "How to Tell a True War Story" that " War is Hell;... war makes you dead."(180)
Original:
"Films strive for an ... human ways." ( Davidson & Lytle 405)
New:
According to Davidson & Lytle, "Films strive for an ... human ways." (405)
revized quotes
Old
Thomas Hobbs...says that the human state of nature is war.
New
Thomas Hobbs insists, “The natural state of nature is war” (3).
Old
“In the end a true war story is never about war… it’s about love and sorrow” (10), says Tim O’Brien.
New
“In the end a true war story is never about war... It’s about love and sorrow” (10), reminds Tim O’Brien.
Old
O’Brien states, “You can tell a true war story from its absolute and uncompromising allegiance to obscenity and evil” (1).
New
Author Tim O’Brien recognizes that, “you can tell a true war story from its absolute and uncompromising allegiance to obscenity and evil” (1).
Old
According to Davidson and Lytle an authentic war film is one that has characters that are individual, realistic and ambiguous.
New
Davidson and Lytle maintain that an authentic war film must have individual and realistic characters: “to a historian viewing the film the characters do look less stereotyped” (416).
Thomas Hobbs...says that the human state of nature is war.
New
Thomas Hobbs insists, “The natural state of nature is war” (3).
Old
“In the end a true war story is never about war… it’s about love and sorrow” (10), says Tim O’Brien.
New
“In the end a true war story is never about war... It’s about love and sorrow” (10), reminds Tim O’Brien.
Old
O’Brien states, “You can tell a true war story from its absolute and uncompromising allegiance to obscenity and evil” (1).
New
Author Tim O’Brien recognizes that, “you can tell a true war story from its absolute and uncompromising allegiance to obscenity and evil” (1).
Old
According to Davidson and Lytle an authentic war film is one that has characters that are individual, realistic and ambiguous.
New
Davidson and Lytle maintain that an authentic war film must have individual and realistic characters: “to a historian viewing the film the characters do look less stereotyped” (416).
New Quotes
Old:
O’Brien writes, “Story-truth is truer sometimes than happening-truth. {203}”
New:
O’Brien argues in his piece, “story-truth is truer sometimes than happening-truth.” {203}
Old:
“Hollywood, an industry that markets the fantasies and fears of popular culture, inescapably finds itself in the myth business creating short stories, themes, and character types that embody the culture ideals of its audience and give expression to their deepest feelings” {Davidson, Lytle 405}
New:
Davidson and Lytle describe in their article how Hollywood constantly finds itself creating fantasies to satisfy their audience, leading Hollywod to find itself in the myth business. {405}
O’Brien writes, “Story-truth is truer sometimes than happening-truth. {203}”
New:
O’Brien argues in his piece, “story-truth is truer sometimes than happening-truth.” {203}
Old:
“Hollywood, an industry that markets the fantasies and fears of popular culture, inescapably finds itself in the myth business creating short stories, themes, and character types that embody the culture ideals of its audience and give expression to their deepest feelings” {Davidson, Lytle 405}
New:
Davidson and Lytle describe in their article how Hollywood constantly finds itself creating fantasies to satisfy their audience, leading Hollywod to find itself in the myth business. {405}
A)
Original
“Myth,” as described in “When Trouble Comes,” “deals with expectation rather than reality. (417)”
New
“Myth” as described by Davidson and Lytle, “deals with expectation rather than reality” (417).
B)
Original
The authors then quote New York Magazine that said: “What really matters is authenticity, which this movie has by the ton. (416)”
New
The authors then provide a quote from New York Magazine: “What really matters is authenticity, which this movie has by the ton” (416).
Original
“Myth,” as described in “When Trouble Comes,” “deals with expectation rather than reality. (417)”
New
“Myth” as described by Davidson and Lytle, “deals with expectation rather than reality” (417).
B)
Original
The authors then quote New York Magazine that said: “What really matters is authenticity, which this movie has by the ton. (416)”
New
The authors then provide a quote from New York Magazine: “What really matters is authenticity, which this movie has by the ton” (416).
Monday, October 22, 2007
10/22
For Wednesday, rework all of the quotations in your essay in the manner we described today (if you've forgotten, the handout is listed to the right). To keep things interesting, you will be allowed to use the 'As (name of author) states/indicates,' or the 'According to (name of author),' format only once in your next draft of your paper.
Once you've reworked all of your quotations, post two (both the original and the new version) here on the blog for all of our perusal.
And remember, your final draft of essay 2 is due, stapled to the draft that was due last Friday (10/26), via email on Monday, October 29th.
Once you've reworked all of your quotations, post two (both the original and the new version) here on the blog for all of our perusal.
And remember, your final draft of essay 2 is due, stapled to the draft that was due last Friday (10/26), via email on Monday, October 29th.
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