Abstract This paper answers the questions: what happened to the battleships of the US Navy, and what is the future of battleships as a class? It gives a history of the battleship in the US Navy, details some of the political controversy about stripping the Navy of its battleships, and makes a case for bringing them back for both their firepower and their function as "peacekeeping vessels."
Abstract This paper examines how, released twenty-eight years apart, "Battleship Potemkin" (1925) and "Ugetsu" (1953) make for interesting comparators, especially when focused down to their mother and baby scenes. It looks at how while both scenes succeed in the portrayal and treatment of women and children during times of conflict, making for vital documents of place and time, the two scenes illustrate clear advances in cinematographic technologies and styles of storytelling as filmmakers moved from the silent genre into three-dimensional motion pictures.
From the Paper "Released twenty-eight years apart, Battleship Potemkin (1925) and Ugetsu (1953) make for interesting comparators, especially when focused down to their mother and baby scenes. While both scenes succeed in the portrayal and treatment of women and children during times of conflict, making for vital documents of place and time, the two scenes illustrate clear advances in cinematographic technologies and styles of storytelling as filmmakers moved from the silent genre into three-dimensional motion pictures. But mostly, these two scenes best exemplify the respective risks each director was willing to take, particularly as those risks speak to degrees of difficulty."
Abstract This paper outlines the history of the battleship U.S.S. New Jersey. U.S.S. New Jersey (BB-62) is one of the four battleships of the Iowa class, the largest, fastest, most powerful and last battleships the U.S. ever built and among the biggest battleships ever.
Abstract The paper reviews and analyzes Sergei Eisenstein's 1925 historical film, "The Battleship Potemkin" which tells the story of a revolution in 1905 which began with the revolt of the sailors on the Battleship Potemkin, in the Odessa harbour. The paper discusses the historical accuracy of the film and Eisenstein's filming techniques.
From the Paper "The film also suggests that the soldiers of the tsar were especially brutal and that there was a long-standing conflict between the people and their rulers. This is most evident as the soldiers march down the Odessa steps, firing indiscriminately into the crowd of citizens, showing that the citizenry is thought of as completely subservient to the power structure and that the power structure in no way sees it necessary to respond to the desires of the people. This sequence is especially affecting as Eisenstein selects certain specific figures from the crowd and makes the viewer identify with them as they are shot by the almost faceless troops. Notable as well is the baby carriage drifting down the steps out of control, a symbol of the way the people are left to themselves in the danger zone that is their life in Russia. The mother is killed so that she can no longer protect her child, representing the future of Russia."
Abstract This paper discusses the topic of technology and how it changed between World War I and World War II. Specifically, it looks at advancements in technology between the two world wars and how warfare was different from the First World War to the Second World War. It shows how, throughout time, war has plagued humanity's history and how, even though the two largest wars were fought almost back to back with many of the same countries involved, the warfare changed drastically from WWI to WWII because of advancements in technology.
Outline
World War I Technologies
World War II Technologies
Aircraft
Chemical Warfare
Rifles and Artillery
Tanks
Battleships and Submarines
Changes in How the Wars were Fought
Other Technologies
Conclusion
From the Paper "When America entered the war in 1917, aircraft production went into high gear, and new materials, engines, and aircraft designs were all created seemingly overnight. By the end of the war, planes were outfitted with machine guns which were synchronized with the propellers, the first bomb sights were developed, radios were installed, more was understood about high-altitude flying ? including how to outfit pilots for the cold encountered at high altitudes, and balloons were used for reconnaissance and photography missions. During the eighteen months America was in the war, aviation technology advanced tremendously, and it became clear that wars were no longer simply ground-based affairs, the skies above held infinite possibilities (Oliver 528-531). This would prove increasingly true during the fighting in World War II."
Abstract This paper discusses how classic cinema doesn?t simply happen and how it takes time, dedication, and a certain "Je ne sait quoi" to create a theme, method, or a wave of influence that can be seen and felt years after its initial pass. It examines how classic cinema goes above and beyond the call of simple entertainment and how it creates a benchmark and platform, which future filmmakers will use to create new and interesting ways to tell a same story over and over again. In particular, it analyzes how films, such as "Birth of a Nation" (1915), "The Cabinet of Doctor Caligari" (1920), and "Battleship Potemkin" (1925) ,through their unique, pioneer, or innovative approach to the film medium, created ideas and methods that are still in use today and how they have bestowed upon themselves the right to carry the title of classic cinema.
From the Paper "In the film "The Cabinet of Doctor Caligari" (1920) the most obvious image is that of surrealism. This movie is an eerie look into issues that revolve around insanity and hideousness. The set itself is incredibly expressionistic and offers the viewer many elusive and vague images. This fits in well with the location, which is, through most of the movie, an insane asylum. The doctor has hypnotic powers, which is depicted as the ultimate power over the bourgeois, violence and the fragile qualities of love. The film's background is also incredibly surrealistic, and for the time is was created this would be incredibly frightening."
Abstract As a result of the Treaty of Versailles the German Navy was reduced to a small coastal defense. This thesis looks at the German Naval plan during World War II and why it was not as successful as it should have been. Issues such as their deployment strategy, ship and submarine building, weapons are examined in great detail. The German Naval strategy is compared with the British Navy. The miscalculations made by the German Naval leaders are evaluated to show what went wrong for the German Navy.
From the Paper "During the Second World War Great Britain depended on her sea born trade to maintain her ability to be involved in the conflict. This required the Royal Navy to protect convoys by using most of its capital ship strength. German leaders realized that they could never create a navy large enough to challenge the British directly. From the onset of German remilitarization they planned to build a small, technically advanced fleet of battleships that could destroy the capital ships of the Royal Navy in succession and weaken Britain to such a point that she would be compelled to negotiate a settlement."
Tags:battleship, bismarck, german, germany, hilter, ii, navy, royal, war, world
Abstract This paper reviews D.W Griffith's 1916 film, "Intolerance", which has remained one of the most influential films of all time from its initial release to the present day. It attempts to reconcile the tremendous influence of "Intolerance" on the filmmaking industry over the years and the applause it has received from film scholars even with its categorization as a financial debacle and a box-office flop. It discusses the film's and subsequent rerelease's lack of mass appeal and the theories as to why Griffith's epic did not achieve the financial success of his previous film, "The Birth of a Nation".
From the Paper "It is thus clear that D.W. Griffith's Intolerance has been an influential film for filmmakers of subsequent generations, and that its greatness has been largely appreciated by film critics and scholars over the past eighty-five years. How, then, can the affirmed greatness of this film be reconciled with its box office failure in 1916? I believe the answer lays in the differences in how a film critic judges a film, as opposed to how the average moviegoer would do so. Drawing from several reviews of Griffith's film, it appears that critics view the film as a work divorced from the world?a film's greatness is the product of its own intrinsic worth. General film viewers, however, judge a movie in the context of the world at large and their own lives, as is only natural."
Abstract This paper examines in-depth the historic connection between warfare and technology. It explores the early tales of arms traders, as seen the emergence of gun powder worldwide in numerous historical documents at same time. The paper follows the history of mankind and the weapons that followed: Canons, pistols, automatic riffles, tanks, battleships, and nuclear bombs. It also describes the military strategies of each era: Trench warfare, aerial bombardments, blockade running and the cold war.
From the Paper "Nothing reflects the power of mankind's intellect more aptly or in a more timely fashion than his ability to vanquish a military opponent. In warfare, technological advantages complement tactical ones in shaping the destiny of civilizations, and it is in war that one finds the newest, most forward thinking technologies. This is important in that the chief difference between medieval war and wars in the modern age is technological.
Medieval preconceptions about the nature of warfare fell to the sound of a cannon blast with the walls of Constantinople in 1453. Many believe this technology to have been transmitted to the invading Ottoman Turks via Arab traders. In the Arabian colonies of Africa, saltpetre was known as "Chinese snow" and in Persia as "Chinese salt" and one 13th century manuscript refers to a substance causing "Heaven shaking thunder!" However, it was said to be a Hungarian cannon-maker that designed the Sultan's siege weapons."
Tags: war, military, technology, canon, riffle, nuclear, bomb
Abstract Describes Germany as primarily a land power. Compares with British dependency on its fleet. Discusses German U-boats, commerce raiding, and warfare. Examines the development of German pocket battleships and heavy cruisers.
From the Paper "In order to understand the German naval problem of World War II, it is useful to briefly examine the naval experience of World War I from the German perspective. Before that war, Germany had..."
Abstract This paper examines the contribution of Sergei Eisenstein to the cinema industry. The first part shows the evolution of Eisenstein's original theories and practice into a total theory of art, which shaped his later films. Also included is an examination of the topic of male domination in his films. The second part delves into his cultural impacts and perceptions in Russia and overseas, particularly in the United States and England. The final part traces the troubled history of the films? production, shedding light on the manner in which Stalinist politics maneuvered Eisenstein's creative endeavors, and the eventual tension that arose between the two. It then seeks to promote a greater analytical fascination and appreciation of Sergei Eisenstein.
From the Paper "Eisenstein's theory of film derived from a variety of sources: through drawing or set design, film projects, and theater production. His analytical manner emerged from psychology and psychoanalysis, anthropology and etymology, linguistics, mathematics and geometry, literature, theater, art and music theory. In addition, his experimental practice, which served as a form of elaborating theory, sought to examine the basic material and the possibilities of film --the illusion of movement, the specific qualities of the film image, the relationship between the seen and the unseen. Eisenstein developed his theoretical projects in two unpublished and unfinished books that attempted to define the phenomena of all the arts."
Abstract This paper explains that, on June 4th, 1942, early in the morning, an American Catalina aircraft was patrolling the open Pacific sky when something startling was seen--- two Japanese carriers, two battleships, bearing 320 degrees, distant 180 miles, course 130 degrees, speed 25 knots: The Battle of Midway was to begin. The author explains that a patrol of six Marine F4F Wildcat fighters from Midway ran head first into one-hundred and eight Japanese bombers and Zeros in the direction of Midway and nothing could stop them. The paper relates that the American forces retaliated and, in only the time span of one day, they sank four out of six Japanese carriers used against Pearl Harbor; Japan lost over 300 planes and nearly 3000 men.
From the Paper "The fourth Japanese carrier, Hiryu, made a close escape and vowed to have revenge on the Yorktown. Hiryu launched an attack against the Yorktown. One bomb went through the side of the ship, lodged itself in the stack, and exploded. The single bomb caused 5 boilers to go out, which slowed the ship down tremendously. Two torpedo explosions ripped a huge hole in the portside of Yorktown and made the damage irreversible, the order to abandon ship came at 2:55 P.M. The Americans were all but dead yet, however."
Abstract The Civil War was a time of great technological advancement in America; weapons, ships and artillery were vastly improved during the period. The paper examines the history, function and development of various guns, rifles, battleships and modes of transport and shows how they were used during the American Civil War.
From the Paper "Invented by Dr. Richard Gattling, the Gattling gun was similar to the Williams, except it had six barrels, giving it the capability of wiping out an entire field of enemies with one sweep. The Gattling gun did not, however, overheat like the Williams did. Dr. Gattling was from North Carolina, so the Union War Department was hesitant to use the weapon, and did not field-test it until Petersburg, too late to have much of an effect on the war. The modern machine gun is modeled after the Gattling gun, and a modified form of the original is still in use today."
Abstract This paper discusses the ways in which World War I differed from its prewar expectations. Emphasis is on the prewar assumption of a quick decisive war; why this was believed and why it was wrong. It also considers new weaponry, railroads and industrial capacity and their consequences.
Tags: world, war, I, industrial, warfare, franco-prussian, war, battle, of, sedan, western, front, battleships
Abstract This is a paper about the toy, slinky which was first developed in 1945 by Richard James, a naval engineer, who was attempting to create a new navigation system for a battleship. However, when one of the coils that he was using dropped to the floor and began to move, the idea for Slinky was born. It also looks at how the toy has been used for many purposes, including physics in education.
From the Paper "There have been many inventions within our society that have affected ways in which we live, methods in which we accomplish things, and perceptions with which we view the world. These things exist in every facet of our lives, and even save us at times. However, there are those "things" which also bring us joy, and the greatest ones are those that we discover as children, and then last throughout our lives to remind us that there will always be a child in all of our hearts. Building blocks, Tonka trucks, and Bardies often have a great deal of significance for older "kids" because they bring back wonderful childhood memories. One toy that still exists today that also possesses that type of nostalgia is the ordinary Slinky. "
