Abstract
This paper describes a battle scene, in Humberto Solas' 1968 film "Lucia" in which the clumsiness of the interaction speaks loudly to the process of creation in historical films. The author points out that, by using this interaction, the ways in which "Lucia" attempts to manipulate the past and understand its complex relationship with both the present and future becomes apparent. The paper relates that the chaos and complexity of these epic scenes' vast compositions seem to pulse with the frenetic disorder of reality of a late 1960s movie set rather than the reality of the 1895 revolution. The paper concludes that, as a pro-revolution Cuban filmmaker operating under the dictates of Fidel Castro's communist regime, Solas created a film that says almost nothing about the 1895 revolution but speaks very loudly about 1968.

From the Paper
"As a young man, Humberto Solas participated in Cuba's communist revolution. Although the communist regime waged a fierce purge of gay Cubans, he managed to keep his sexuality off of the government radar and soon became a prominent filmmaker. Considering Solas' support of revolution, and the fact that the government censored the output of Cuban artists, it makes perfect sense that Lucia would have a pro-revolutionary message. This logic is borne out: the Spaniards are portrayed as aggressors, and the only one afforded dialogue is the heartless and conniving Rafael."

Tags:clumsiness, reality, communist, artificial, plot

Abstract
This paper reviews various works of art through the ages, all depicting various scenes of war and battle. It takes a look at the work of various artists such as Eugene Delacroix, Pablo Picasso, Salvador Dali, Edouard Manet, Paul Cezanne, Jackson Pollack and Henri Matisse and compares their scenes of war and battle.

From the Paper
"The major similarity between the two works is the depicted violence. In Sardanapalus a Negro stabs a white horse and a bearded and richly dressed man plunges a dagger into the throat of a woman. The foreground is brighly illuminated and, indicative of the Romantic period, the figures are expressive and sensual with a mixture of the erotic and violent. The painting is believed to be based on Lord Byron's 1821 play Sardanapalus, which ends with death and destruction (Spector 19).
The painting has life-size figures in the foreground and in the rear, including the king, much smaller. The complex composition and spacing between the figures is unique--with figures on the lower right and upper left, and only the red of the bed spread in the middle. Colors of gold and red as well as actual pearls are used to unify the different parts of the painting. Women, slaves, animals, jewels, and fabrics are combined in a swirling, circular composition. The painting was used to evoke emotion--even Delacroix was disturbed by what he had painted. The Sandanapalus tilts diagonally back from the foreground, with earlier Romantic battle paintings, such as Gros' Battle of the Eylau in 1807, Delacroix's own Dante and Virgil in 1822 and Massacre of Chios in 1821, the main figures occupying the foreground (Spector 23). "

Tags:Sardanapalus, Cubist, mixed, medias, pictorial, realism, Impressionism, Surrealistic

Abstract
This paper discusses the portrayal of war within media. It specifically focuses on and gives examples from the epilogue of "The Battle of Algiers," directed by Gillo Pontecorvo. It describes scenes in the film and the ways in which Pontecorvo illustrates many of the aspects of war. The paper finally discusses how the media affects the way that society sees the realities of war.

From the Paper
"Media both causes and expresses reality. The landscape and local identities of war have been reshaped for our consumption. Modern media is instrumental in legitimizing war wherever it takes place by outlining differences in culture and identity. In The Battle of Algiers we could see this as the commanding military officer and the press questioned spokesman for the resistance. One of the reporters asks, "Isn't it vile to have women carry bombs in their baskets?" The questions had little to do with the reality of bloodshed and suffering and everything to do with shaping cultural values. The role of media in war is to anchor conflicts in its own media landscape, and then adopt a critical stance, while at the same time it constructs identities discursively. This is a change from the older function of literature "to point to the ideals and values related to war beyond the literary constructions" (p. 487). Larsen (2004) tells us that the "modern function of literature is to remind us that the real landscapes, with real bloodshed and real persons, only reach us through the arbitrary and abstract constructions which are circulated by the media" (p. 488)."

Tags:landscape, army, victory

Abstract
This paper conducts a detailed analysis of the film "Dead Calm" (1988), paying particular attention to the scene that is viewed by many sources as a depiction of rape. Using psychoanalytical film theory and feminist film reading techniques, it breaks down and analyses key scenes in order to uncover the balance of power between the primary characters. Castration theory is used to support the gender based reading, as is the ideas of anima and animus, used here to support the balancing of masculinity and femininity as a tool for victory. It also looks at similarities between the film and biblical mythology including a character comparison with Adam, Eve and Satan, and similarities between the film's diegesis and the Garden of Eden and Hell.

Outline
Illustrations list
Acknowledgements
Introduction
Chapter One: Literary Review
Chapter Two: Battle of the Sexes
Chapter Three: Delving Beneath the Waters of Eden
Chapter Four: Hero's Journey and Hidden Agendas
Conclusion
Reference List
Bibliography

From the Paper
"After a failed attempt to leap onto the Saracen from a rowing boat, which results in John being injured by the propeller, John is metaphorically left castrated, de-masculinised, bleeding and stranded on a sinking ship. He is no longer the naval captain and master of the feminine sea, but now a possible victim of it. He remains a strong and competent character and is immediately active in attempting to regain power of the Orpheus which has been crippled by water. He remains a symbol of manhood, almost becoming a male action hero, at times appearing bare-chested while fixing the engine, displaying his bronzed and glistening torso."

Tags:christian, feminine, feminist, gender, hero, kidman, mythology, psychoalytical, sexual, vogler, zane

Abstract
"In this paper, a film proposal is presented about the Crusades. It looks at how the siege of Antioch began in 1097 and lasted for two years and how the city had some of the most infamous battle scenes and stratagems, which would outshine any of the latter battles or conquests that would follow. "

From the Paper
"During the First Crusades Bohemond of Tarentum was a pivotal and important figure in gaining access to the "Holy Land" during the early part of the 12th century. Conceptualized by Pope Urban II in 1095, the Crusades become an important part of western historical warfare (Stearns 140), which brought Bohemond and his Christian compatriots to take away Jerusalem from the Muslims in the name of Christ. The "Siege of Antioch" was a critical, violent, and important battle, which represents the apogee of success for the Crusaders in taking the Levant from the Arabs. After Pope Urban had sent off Bohemond and the other princes from various regents in France and Germany, there was great hardship that awaited them. Not only did they have to fight the Arabs, but they also had to deal with Alexius I, the emperor of the Byzantine Empire."

Tags:antioch, film, crusade

Abstract
This paper discusses how "The Epic of Gilgamesh" has all the qualities of a classic epic, gods, heroes and huge battle scenes. It examines how the ancient Babylonian text, preserved on stone tablets, is representative of poetry in a number of ways and how some key elements stand out. It looks at how the friendship that develops between Gilgamesh and Enkidu is remarkable and evaluates how the role of women in the epic is also characteristic of epic poetry in general. They are strong figures, despite having supporting roles in the narrative. It looks at how Gilgamesh, through all his struggles and quests, emerges as a legendary hero. Of noble, semi-divine birth, Gilgamesh's status remains unquestioned throughout the tale. His heroism is another hallmark of the epic genre and another reason why the poem endures for almost three millennia.

From the Paper
"Gilgamesh's friendship with Enkidu is a central theme of the Epic, and such close male bonding is a universal characteristic of this type of literature. The two men begin as rivals of equal strength: "So the mighty brothers fought at first / pushing and shoving each other / for hours and hours enraged. / Then a calm force soothed / then well-matched spirits / to bring a peace and rest their strife," (Tablet 2, Column 4, lines 76-81). Proving their manliness and honor to one another, they solidified their friendship, which is described as "sacred," (Tablet 3, Column 1, lines 1-3). Furthermore, the two men both become bored with mundane city life, and decide to embark on a journey together. Fueled by each other's bravery and courage, the two men endure many hardships along the way such as the demon Humbaba. Enkidu's death devastates Gilgamesh, who overtly displays his human emotions by becoming severely depressed: "Then Gilgamesh wept some more / for his dead friend Despite respite / he could not sleep or dream that night. / Instead he wandered through the woods," (Tablet 9, Column 1, lines 1-2; 19-21)."

Tags:heroism, women, enkidu, friendship, poetry

Abstract
This paper examines the function and significance of Act IV, Scene I in the overall development of the play. One of the most remarkable facets of this scene is that it allows the readers to gain an understanding of the common soldiers' view of the matter as well as witness the doubts and insecurities that plague Henry as he prepares for the crucial Battle of Agnicourt.

From the Paper
"Act IV, Scene I is critical to the overall development of the play for several reasons. First, this scene emphasizes the differing attitudes between the English and French camps. The soldiers in the English camp were essentially serious, in stark contrast to the joviality, overconfidence, and superficiality of the French camp. However, there is an anticipation of great humor when the disguised King Henry exchanges gloves with Williams and promises to meet him in a duel if they both survive today's battle; we anticipate Williams discovering that he was arguing with the very monarch for whom he is fighting."

Tags:depth, integrity, character, analogy, gravity, sorrow, development

Abstract
This paper explains that Ralph Ellison's and Harryette Mullen's respective use of language represent descriptive language usage within two entirely different literary genres (fiction vs. poetry) and contexts (a public speech vs. a private bedroom). The author points out that Ellison's use of language is vividly descriptive, harsh at times, non-playful and non-alliterative; whereas, Mullen's use of language to playfully describe a solitary bedroom setting is relaxed, playful, metaphorical and alliterative. The paper relates that these differences are due to social context: Ellison's black speaker (the powerless) is publicly addressing a group of whites (the powerful); whereas, Mullen's speaker is relaxing at home with a much-loved though inanimate object.

From the Paper
"Not only is the dictionary used as metaphor for an erotic lover; within lines 16-18 Mullen's speaker even metaphorically describes the sex act, using doubly-denotative words and phrases like: "Aroused"; "perverse positions"; "nightly act"; "penetration." Later, in the final line, yet another playfully metaphorical phrase appears, describing nighttime decoding of the dictionary's messages as similar to deciphering "the secret acrostic of a lover's name" (line 23). Like an illicit love relationship, then, relationship of speaker to the dictionary ("taking the big dictionary to bed" (line 8)) is secretive, stimulating, and filled with new and exciting discoveries. "

Tags:genres, power, context, harsh, metaphorical

Abstract
This paper explains that, in contemporary American society, the use of images to learn history has been under-valued as exemplified by the relative under-appreciation for the art of John Trumbull, an American painter, architect and author, whose paintings of major episodes in the U.S. War of Independence form a unique record of that conflict's events and participants. The author points out that Trumbull's most famous work is his documentary painting, "The Declaration of Independence", finished in 1836, which is a familiar image in American popular iconography. The paper describes in detail the paintings "Declaration of Independence", "The Surrender of Cornwallis at Yorktown" and "The Battle of Bunker's Hill"; each of these paintings realistically depicts not only the scenes but also the historically correct portraiture of the participants.

Table of Contents
Introduction
Biography Information
Early life
Painting Career
"The Declaration of Independence"
Avenues of Fame
Misnaming
Description of Painting
Portraiture
Thomas Jefferson
John Adams
Benjamin Franklin
Members of Congress
Actual Scene
"Surrender of Cornwallis at Yorktown"
Description of Painting
Portraitures
Cornwallis
O'Hara
General Lincoln
Actual Scene
"The Battle of Bunker's Hill"
Description of Painting
Portraiture
General Putnam
British Officers
Howe
Clinton
Small
Pitcairn
Actual Scene
Conclusion

From the Paper
""The Battle of Bunker's Hill" is also among Trumbull's most famous paintings. This painting is composed of many figures in close combat, and the painting's organization lies along a sweeping diagonal. Moreover, the dramatic contrasts of light and shadow movingly culminate in the highlighted soldier dying in the arms of a comrade.This was the first of Trumbull's Revolutionary War masterpieces to be finished, and it was also painted in the studio of Benjamin West in London. It was completed in March 1786, although the origin of the portraiture in this painting is less known than that of the two aforementioned Revolutionary War paintings. For example, it is unknown where Trumbull obtained the likeness of General Warren, although it is probable that he copied a portrait by Copley."

Tags:record, documentary, scenes, portraiture, under-valued

Abstract
This paper discusses how in Act 4, Scene 3 of Shakespeare's, "Henry V", we see Henry give a rousing speech to the few English soldiers who are about to partake in battle. It looks at how this speech is a centerpiece of the play and gives great insight into Henry as both a political and military leader, and as a leader of men. The paper also examines how, through his St. Crispin's Day speech, Henry shows us not only what he wants to get out of being a strong king and military leader, but also his keen ability to rouse the troops and prepare their minds and hearts for battle.

From the Paper
"To understand this speech we must first understand its context. The lines that come directly before the speech given by Henry give us great insight into what Henry is trying to convey in his speech. Before Henry gets begins speech Westmoreland says, "O, that we had here but one ten thousand of those men in England that do not have to work today." (Act 4, scene 3 ll. 18-20) These words spoken by Westmoreland are what encourage Henry to erupt into his spectacular oration. Westmoreland remarks to Henry that the English army would be better off if they had thousands more troops to go into France with. This however, is not how Henry feels, and in his ensuing speech, he tells his troops why he would rather have a few courageous troops than thousands of men forced to fight in the name of England."

Tags:england, battle