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."

Tags:director, film, styles

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
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
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."

Tags:Soviet, Vakulinchuk, 1917

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."

Tags:cabinet, doctor, caligari, birth, nation, battleship, potemkin

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. "

Tags:slinky, toy, history

Abstract
The paper addresses screwball comedy, the production code, independent filmmaking, Martin Scorsese films, Eisenstein's "Battleship Potemkin," the decline in movie attendance after WWII, film noir elements, and blacklisting.

From the Paper
"Many of the elements of screwball comedies emerged from restrictions of the Hollywood Production Code under the authority of Joseph Breen. Breen's rigid enforcement of morality defined by the code forced writers and directors of screwball comedies to get around the code through a number of techniques. One of these is double-entendre, a form of saying one thing that can mean something else. Another was pushing the envelope of the production code just enough to undermine it. For instance, in ..."

Tags:femme fatale, communism, Joseph McCarthy, double entendre, middle-class, subgroups, dark side, cinema

Abstract
The paper discusses the Berlin-Baghdad railway and the arrival of the SMS Goeben battleship that caused the Turks to join the alliance that pulled them into World War I. The paper describes in detail the weeks before the actual declaration of war against the Allied powers.

From the Paper
"In November of 1914, the once-mighty "sick man of Europe," the Ottoman Empire, joined the 'war to end all wars' as a Central Power. Having concluded a secret alliance with Germany against her long-time rival Russia, the conditions for war were met, and on 11 November, Sultan Mehmed V declared jihad. This would prove, as with so many other empires, to be the downfall of Turkey as a Mediterranean power, and, in fact as an empire at all. The terms of the alliance pulled the Ottomans into the war, but the real question remains; what led them to sign it? The answers can be found in two places: the Berlin-Baghdad Railway, and the arrival of the SMS Goeben."

Tags:Berlin-Baghdad, railway, SMS, Goeben

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."

Tags:guns, aircraft, tanks, submarines, battleships

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