1465211
Description
Flashcards by sabrina bevi, updated more than 1 year ago
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Created by sabrina bevi
over 10 years ago
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| Question | Answer |
| Subject and Ideologies | Subjects: what they are about concerned with public matters Fiction films are more on human emotions |
| Purposes, viewpoints or approaches | what they are trying to say wit their films record social, cultural, personal, natural, institutional increase our understanding persuade us to take action |
| forms | evolve from formative process limited to actuality based in reality don't create anything out of imagination mainly determined by subject functional, varied, looser more location shots |
| production | way images are shot, recorded shoot on location lighting available on set no technological effects |
| audience response | actions resulting from film aesthetic experience of some sort, effect on attitudes more functional, sparse, austere professional skill communication audience respond to subject matter |
| documentary mode | one of the 3 basic modes in film photograph natural life, juxtaposition the detail |
| documentary - defined | John Grierson- DOCUMENTARY was introduced as an adjective documentary is a kind of argument which makes a claim to factuality POV |
| THE LUMIERE BROTHERS | 1st documentary: Arrival of a Train (1859) first time big screen picture |
| DOCUMENTARIES TODAY | mainstream mode in which we discuss argue for an negotiate our collective social being |
| INTELLECTUAL CONTEXT | doc. mode invented to meet new artistic and communication needs during 20th century doc. is purposive, intended to achieve soomething |
| NATURALIST (ROMANTIC) | paralleled development of anthropology as a social science |
| NEWSREEL | expansion of journalism in early 20th century extension of motion picture as rotogravure weekly theatre shows |
| PROPAGANDIST | russian revolution first karl marx intellectual disciplines negative connotation with word |
| REALIST | European avant-garde 1920's find artistic meaning interrelatedness of time and space understanding the unconscious mind |
| WORLD WAR 1 | made film critical Battle of Somme - most important war doc funded and endorsed by British Military filmmaking became exclusive to rich white males auidence remained the working class |
| 1. NARRATIVE FICTION | STAR WARS HAVE CHARACTERS TRYING TO TELL A PLOT |
| 2. AVANT-GARDE | EXPERIMENTAL FILM NO STORY OR PLOT INNER EXPERIENCE EXPRESSED THROUGH ABSTRACT ART FILM |
| 3. DOCUMENTARY | LUMIERE BROTHERS MOST SUCCESSFUL |
| DOCUMENTARIES TOWARDS A DEFINITION | J.G: THE CREATIVE TREATMENT OF ACTUALITY ROOT: DOCUMENT = LATIN FOR DOCERE = TO TEACH |
| THE FLAHERTY WAY | USE OF FILM MEDIUM IS SIGNIFICANT USED FILM TO SHOW HIS ADMIRATION OF THE REST OF THE WORLD PRESENTED PEOPLE AT THEIR FINEST HOW OTHER CULTURES ARE LIKE OUR OWN |
| THE FLAHERTY LEGACY | REFUSAL TO PASS JUDGEMENT ON SUBJECTS UNIQUE POETIC WAY DOWNFALL: NO SOCIAL COMMENT SOCIAL ECONOMIC AND POLITICAL INTEREST |
| CATEGORIES OF DOC & FILM 1. POETIC | JORIS IVANES; RAIN |
| CATEGORIES OF DOC & FILM 2. EXPOSITORY | CNN BIOGRAPHY EXPERT TELLING YOU ABOUT THE SUBJECT INTERVIEWS |
| CATEGORIES OF DOC & FILM 3. OBSERVATIONAL | DONT LOOK BACK CAMERA TRYING TO HIDE SEE THE WORLD UNFOLD BEFORE IT SLICE OF REALITY SHOWN TO THE CAMERA |
| CATEGORIES OF DOC & FILM 4. Participatory | nick broomfield busting into peoples homes, spontaneously asked them things |
| CATEGORIES OF DOC & FILM 5. REFLEXIVE | DAVID HOLTZMAN'S DIARY FAKE DOCUMENTARY, STAGED AND SET UP PERSONAL DIARY |
| CATEGORIES OF DOC & FILM 6. PERFORMATIVE | FOG OF WAR UP CLOSE AND PERSONAL |
| NANOOK OF THE NORTH | "PRIMITIVE PEOPLE" ROBERT FLAHERTY BECAME GENRE IN 1920-30 |
| 3 TYPES OF SOVIET NONFICTION FILMS 1. REPORTAGE/NEWSREEL-INDOCTRINATIONAL SERIES | VERTOV SAW CLOSE RELATIONSHIP BETWEEN FILMING PROCESS AND HUMAN THOUGHT HUMAN PERCEPTION HAS LIMITATIONS MACHINE EYE IS PERFECTIBLE PROPAGANDA WEEKLY FILMS GIVING THE NEWS |
| DZIGA VERTOV | DINNIS KAUFMAN MAN WITH A MOVIE CAMERA |
| AGITKA | AGITATION FILMS ALSO CALLED AGITPROP LITTLE POLITICAL PROPAGANDA PIECES AGITATED IN FORMS AS WELL AS IN THEIR GOAL OF AGITATING THE POPULATION |
| KINO PRAVDA | FILM TRUTH PRAVDA BAME OF SOVIET DAILY NEWSPAPER NEW KIND OF SCREEN JOURNALISM COMBINED AGITKA/AGITPROP AND NEWSREEL TRADITIONS NECESSITY FOR THE VALUES AND PROGRESS OF THE REVOLUTION MANIPULATED FILMS IN POST PRODUCTION |
| AGOT TRAINS | FILM CREW ON A TRAIN ACTORS ON BOARD, PRINTING PRESS PUT ON PERFORMANCES, ON BATTLE FRONTS PROMOTING REVOLUTIONARY SEAL |
| 3 TYPES OF SOVIET NONFICTION FILMS 2. COMPILATIONS OF HISTORICAL ARCHIVAL FOOTAGE (COMPILATION) | ESTHER SHUB INNOVATION OF TAKING ARCHIVAL FOOTAGE LIFE OF ZARS FAMILY HISTORICAL DOCUMENTATION, PUTTING IT TOGETHER TO TELL A STORY PARTICULAR SEQUENCE SHAPE A STORY |
| ESFIR (ESTHER) SHUB | THE FALL OF THE ROMANOC DYNASTY FILM IS PIECED TOGETHER WITH NARRATION TO HELP BUILD A STORY ARCHIVAL FOOTAGE |
| 3 TYPES OF SOVIET NONFICTION FILMS 3. EPIC CELEBRATIONS OF SOVIET ACHIEVEMENTS (EPIC) | VICTOR TURIN TURKSIB 1929 PULL YOUR HEART STRINGS PROPAGANDA LIKE TECHNOLOGY WAS AN EXTENSION OF HUMAN POWER |
| FICTION | SOVIET CINEMA TOTALLY SUPPORTED BY THE STATE SUCCESS OF SOVIET FILMS MEASURED IN TERMS OF HOW WELL THEY CONVEYED MESSAGES |
| SERGEI EISENSTIEN | FILM AS THE MEDIUM IN WHICH ART COULD BE MADE OUT OF MATERIALS MUCH CLOSER TO LIFE SUBJECTS ARE ALL RELATED TO ACTUAL LIFE LIVED OR PRESENTLY BEING LIVED LARGE ECONOMIC AND POLITICAL |
| SERGIE ESIENSTIEN | INFORM EMOTIONALLY SOVIET PUBLIC: 1. CONDITIONS AND EVENS LEADING/JUSTIFYING THE REVOLUTION 2. HEROIC STRUGGLE OF REVOLUTIONARY FORCES DURING IT 3. POSITIVE AND CONSTRUCTIVE EFFORTS OF THE NEW STATE FOLLOWING IT |
| TYPAGE | SELECT A PERSON TO PLAY A PRIEST.. ETC.. APPEARANCE SUGGEST MOST STRONGLY PRESENT ON ASPECT OF A CHARACTER |
| CHARACTERISTIC OF SOVIET FICTION FILMS | STATE SUPPORTED OVERTLY PROPAGANDISTIC COMMUNIST FILMED REAL LIFE MONTAGE TECHNIQUE TO INTERPRET REALITY FROM A MARXISTS-COMMUNIST IDEOLOGICAL PERSPECTIVE |
| AESTHETIC PREDISPOSITION | CREATE FILMS DIFFERENT FROM LITERACY STORIES BELIEVED FICTION FILMS WERE TELLING LIES ABOUT LIFE DOC. AND AVANT-GARDIST SHARED DESIRE TO EXPLORE MORE FULLY THE CAPACITIES OF FILM AS A MEDIUM |
| DOCUMENTARIANS | BELIEVED FITION FILMS WERE NOT REALISTIC ENOUGH PHYSICAL LIFE COULD BE CAPTURED AS IT WAS BEING LIVED |
| AVANT-GARDISTS | FICTION FILMS WERE TOO REALISTIC VISUAL IMAGERY MORE COMPLEX AND CONSISTENT PRESENT ABSTRACT PATTERNS IN MOTION REPRESENT DREAM LIKE PERCEPTIONS |
| COMMONATLITIES BETWEEN DOC. AND AVANT-GARDIST | REBELLION AGAINST LIMITATIONS OF FICTION FILMS DESIRE TO EXPLORE CAPACITIES OF FILM MEDIUM SENSE THAT FICTION FILMS TELL LIES |
| THREE DISTINCTIVE AVANT-GARDE TECHNIQUES: 1. ABSTRACTION | NON OBJECTIVITY RICHETERS; RHYTHMUS 21 (1921) EGGELING'S; DIAGONAL SYMPHONY (1925) 0 SPACE TIMELINE ABSTRACT IMAGES, PAINTINGS BEGINNING OF CITY SYMPHONY |
| THREE DISTINCTIVE AVANT-GARDE TECHNIQUES: 2. SURREALISM | PSYCHOANALYSIS AND SURREALISM DREAM AND UNCONSCIOUS INTENSE IRRATIONAL REALITY OF A DREAM VOYAGE TO THE MOON MIXTURE OF REAL AND SURREAL IMAGES REFLEXIVE DOCUMENTARY |
| THREE DISTINCTIVE AVANT-GARDE TECHNIQUES: 3. IMPRESSIONISM | FRENCH IMPRESSIONISM EMPHASIS ON SPACE/TIME RELATION IMPRESSIONIST PAINTING LOOKS AT LIFE FROM A FAST-MOVING TRAIN ABSTRACTION FOLLOWS A PARTICULAR PATTERN DISTANCE BECOMES REALISTIC SURFACES AND LIFE |
| CITY SYMPHONIES | FEATURE PEOPLE AS PRODUCTS OF THEIR ENVIRONMENTS LEAN TOWARD AVANT-GARDE |
| WALTHER RUTTMAN'S BERLIN: SYMPHONY OF A GREAT CITY | design, way things are shaped, movement TROPICAL GROUPING OF PEOPLE PEOPLE TREATED LIKE SUBJECTS, VISUAL EXAMINATION OF THEM FOLLOW REALITY, NOT ARCHIVAL SOME ACTION IS STAGED VISUAL DESCRIPTION OF LIFE IN BERLIN 1927 |
| ALBERTO CAVALCANTI RIEN QUE LES HEURES | MIXTURE OF AESTHETIC AND SOCIAL ARTISTIC EXPERIMENTATION SOCIAL POV SPECIAL EFFECTS USED |
| JORIS IVEN RAIN 1929 | ABOUT AMSTERDAM IMPRESSIONIST, LYRICAL SHAPES, TEXTURES ROUND AND SOFT VERY TACTICAL FILM IMAGINE IMAGES IN EVERYDAY LIFE |
| CHANGES IN AVANT-GARDE | 1ST WAVE DIMINISHED BECAUSE IT WAS EXPENSIVE, COMPLEX BIG STUDIOS DOMINATED CHANGING INTELLECTUAL AND ARTISTIC INTERESTS AND ATTITUDES DEPRESSION AND RISE OF FACISM WW2 |
| JOHN GRIERSONS INFLUENCE | COINED THE TERM DOCUMENTARY CUT RIGHT TO THE CHASE, SHOW SOCIAL ISSUE NO PROBLEM WITH PROPAGANDIST DOC NEED TO SERVE HIGHER CIVIC GOAL CREATED EMPIRE MARKETING BOARD |
| EMPIRE MARKETING BOARD | 1930 4 YEARS = HUNDREDS OF FILMS USED YOUNGER, MIDDLE CLASS PEOPLE AIMS: HELP CITIZENS OF EMPIRE, MORE FULLY APPRECIATE ONE ANOTHER VALUE INTERDEPENDENCIES MORE COHERENT CIVI WHOLE, BETTER NATIONALISTIC SPIRIT FOCUS: PRODUCE GOVERNMENT FUNDED DOC., PROMOTE EDUCATE THE PUBLIC ON BRITISH EMPIRE |
| GENERAL POST OFFICE | 1933 - FILM UNIT MOVES TO GPO NEW SOURCE OF FUNDING EFFECTS FILMS, STRESS ON POST OFFICE PROVIDING MODERN COMMUNICATION GREIRSON LOOKS FOR PRIVATE INDUSTRY TO SPONSOR PRIVATE FUNDING FROM OIL INDUSTRY |
| BRITISH DOCUMENTARY: 1. POETIC AND EXPERIMENTAL | 1930 INDUSTRIAL BRITAIN (1933) GRANTON TRAWLER (1934) DRAWING DIRECTLY ON AVANT-GARDE, CITY SYMPHONIES |
| BRITISH DOCUMENTARY: 2. MID 1930'S JOURNALISTIC REPORTAGE | INTERVIEW MATERIAL STOCK SHORT, NEWSREEL FOOTAGE VOICE OVER COMMENTARY IDENTIFY A PROBLEM, ENCOURAGE US TO LEARN AND DO SOMETHING ABOUT IT INCORPORATE FORMAL AND TECHNICAL EXPERIMENTS SPOKEN WORDS USED FOR ANALYSIS HOUSING PROBLEMS (1935) |
| BRITISH DOCUMENTARY: 3. DOCUMENTARIES STRUCTURED AS NARRATIVES - PROPAGANDA MODEL | NARRATING CHARACTERS JOURNEY POPULAR, KEEP AUDIENCE ENGAGED BLEND OF SOCIAL AND FORMAL DRAMA ON DOOR STEP NIGHT MAIL (1936) |
| GRIERSON | NEW MEANINGS, EXCITEMENTS IN THE FAMILIAR THROUGH APPLYING THE CREATIVE TREATMENT OF ACTUALITY CINEMA THE PULPIT, USE IT AS PROPAGANDIST SOCIAL ENGINEERING GOAL; SOCIAL, ECONOMIC, POLITICAL EDUCATIONAL SOCIAL PURPOSES ENLIGHTEN SHAPE THE MODERN INDUSTRIALIZED SOCIETY ONLY DIRECTED ONE FILM |
| FLAHERTY | UNFAMILIAR FAMILIAR DISCOVER AND REVEAL PERSUASIVE SHOWED WORLD AS HE SAW IT MAY LEAD TO SOCIAL CHANGE HIGHLY PERSONAL FILMMAKER USE FILM TO REVEAL LITTLE KNOWN PEOPLE AND PLACES |
| GRIERSON BRITISH DOC. CONTRIBUTIONS | CREATED/ADMIN BRITISH DOC TRADITIONS INNOVATED PRIVATE/PUBLIC SPONSOR NONTHEATRICAL DISTRIBUTION; WENT OUTSIDE MOVIE THEATRES MOTIVATION- PUBLIC SERVICE POSITIVE MESSAGE |
| FILMS ON THE LEFT | WORKER FILMS AND PHOTO LEAGUE 1930 PRESENT TRUE PICTURE OF USA MARXIST POV NO GOV. SPONSORSHIP NOT WELL PRODUCED TIES TO THE USSR |
| MARCH OF TIME | FUNDED BY TIME MAGAZINE MONTHY FILM SERIES NEWSREEL + DOC SEEN BY 20 MILLION AMERICANS LIBERAL STANCE 4 PARTS GOD LIKE NARRATOR, COMMANDING PERSUASIVE VOICE EDITING WAS KEY SPRING US TO DO ACTION MOST CONTROVERSIAL |
| NON-GOVERNMENT DOCUMENTARIES | PRIVATE/COMMERCIAL SPONSORSHIP LEFT BIAS MOST SIGNIFICANT ISSUES OF TIME BOLD POSITION ON SOCIAL ISSUES ARTISTICALLY LESS SUCCESSFUL NO REINFORCEMENT OF IDEAS PRESENTED UNCERTAINTY OF SPONSORSHIP |
| GOVERNMENT DOCUMENTARIES PARE LORENTZ | PLOW NO DISTRIBUTION OF THE FILM, FAILED NEW YORK LIBERAL VS. WEST VIRG. POPULIST THE RIVER (1937), IMPORTANT SOCIAL ISSUES FILMS OF MERIT |
| LORENTZ'S CONTRIBUTION | ESTABLISHED US GOV. DOC FILMMAKING NATIONAL STLYE, EPIC POEMS 2 MASTERPIECES PROBLEM: ALL WORK TIED TO ROOSEVELT NEW DEAL GOV. |
| AMERICAN DOC | QUITE ROMANTICIZED, MORE LYICAL OR POETIC FORM NO SUPPORT FROM PRIVATE OOR OUTSIDE SOURCES, HIGHLY POLITICIZED POPULIST, LARGE SCALE, HYPERBOLIC HISTORICAL BASED, BEFORE AND AFTER ARGUEMENTS |
| AMERICAN DOCUMENTARIES | ROOTED IN POPULISM POPULIST BEGAN PEOPLES PARTY GOV CONTROLLED TENDENCIES TOWARDS MONOPOLY STARTED WITH AMERICAN FARMERS IMPORTANCE OF PEOPLE AND INDIV. MORE AESTHETICKY |
| BRITISH DOCUMENTARIES | ROOTED IN SOCIALISM FACTORY WORKERS URBAN/INDUSTRIAL SUBJECTS COLLECTIVE EFFORT THROUGH GOV. GOV LEADERSHIP STRESSED |
| LINEI REIFENSTAHL'S TRIUMPH OF THE WILL | COMMEMORATES THE 6TH NAZI RALLY IN NUREM-BERG IN 1934 SPONSORED BY GOV TO RALLY SUPPORT BIG CREW, UNLIMITED FUNDS LOSING SELF IN THE MASSES IMPRESSIONISTIC, AVANT-GARDE, NEWSREEL, PROPAGANDA |
| DOCUMENTARIES AND WAR | WWII DOC SA A WEAPON OF SYMBOLIC VIOLENCE RENEWED PUPOSE SOURCE OF FUNDING |
| BEGINNING OF THE WAR | NEWSREELS RECORD OF EVENTS OF THE WAR 1939 -BRIT EST. PROPAGANDA FILM FICTION FILMMAKERS HIRED LEFTWARD AIMS: SPIRITUAL ARMING OF PEOPLE, RAISING MORAL, BETTER WORLD AFTERWARD |
| WWII ERA DOC. IN ALL COUNTRIES: 1. UTILITARIAN INSTRUCTIONAL VIDEOS | TRAINING, ORIENTATION, SCIENTIFIC AND MEDICAL FILMS FOR MILITARY AND CIVILIAN USE |
| WWII ERA DOC. IN ALL COUNTRIES: 2. SEMI DOCUMENTARY INDOCTRINATIONAL FILMS | SEMI: NARRATIVE STYLE LIKE NIGHT MAIL BLEND FICTION AND REAL EVENTS MINISTRY OF INFORMATION PARALLELED BY COMMERCIAL STUDIOS AIMS: BRINGS EVERYONE TOGETHER, WORKING TOGETHER LACK OF VIOLENCE, HATRED |
| WWII ERA DOC. IN ALL COUNTRIES: 3. SOCIAL DOCUMENTARIES | COMMON GOAL FOR WINNING THE WAR AND THAT LIFE WILL BE BETTER AFTER POST WAR OPPORTUNITY THEME ROTHA; CLARITY TO COMPLEX BORING SUBJECTS DIAGRAMS, INTERVIEWS, TRICK OPTICAL EFFECTS |
| WWII ERA DOC. IN ALL COUNTRIES: 4. RECORDS OF BATTLE | DANGEROUS WORK HAD TO WORK WITH LOTS OF FOOTAGE HAD TO CLARIFY CONFUSING PARTS, USED ANIMATED MAPS, ESTABLISH PATTERNS, PLANNED NARRATION GIVE BATTLE SEQUENCES DRAMATIC FORM STORY TOLD CHRONOLOGICALLY SPONSOR REQUIREMENTS WERE FIT IN EMOTIONAL INVOLVEMENT SHOWED DISTRUST/DISLIKE OF GERMANS |
| CANADA BEGINNING OF WWII | END OF 1930S, WAR DOC ENTER CANADA NO SENSE OF NATIONAL IDENTITY THROUGH CANADIAN FILMS |
| NATIONAL FILM BOARD | 1939, GRIERSON DESIGNED TO COPY/IMPROVE BRITISH MODEL MAKE FILMS THAT WOULD HELP BUILD RELATIONSHIPS WITH CANADIAN PEOPLE AND WORLD DISTRIBUTE FILMS WORLDWIDE EXTENT OF CANADAS WAR EFFORT FULL SUPPORT FROM P.M. 4 1/2 FILMS PER WEEK WANTED DIRTY, ROUGH, FILMS |
| THEATRICALLY RELEASED | CANADA CARRIES ON LITTLE HATRED, VIOLENCE WAR EFFORT CONCENTRATED THE WORLD IN ACTION |
| NON THEATRICAL FILMS | LESS LIKELY WAR RELATED REGIONAL OR CULTURAL STUDY 16MM NONTHEATRICAL DISTRIBUTION, WORLD TV UNIT SHOWN IN CLUBS, LIBRARY, SCHOOL FILM COUNCILS FORMED, DECENTRALIZED LEADERSHIP, FEEDBACK NOT ARTISTICALLY GREAT SKILLFULLY MADE, QUICKLY PRODUCED |
| AMERICA 1942-45 | ENTRY TO WAR ENGLISH DOC. COME TOGETHER BRIT. CAN. USA SHARED FILM STOCK ORIENT TROOPS AND CITIZENS ON COMMON WAYS, SURVIVAL OVERCOMING ISOLATION |
| AMERICAN DOCUMENTARY CATEGORIES: 1. UTILITARIAN/INSTRUCTIONAL | SHORT FACTUAL FILMS MORE IMAGERY LOVELY SHOTS |
| AMERICAN DOCUMENTARY CATEGORIES: 2. SEMI DOCUMENTARY/ INDOCTRINATION FILMS | ORIENTATION FILMS, USA ARMY HAD TO WATCH BEFORE GOING INTO WAR WHY WE FIGHT UNSTRUCTURED HISTORY, ACTION, CLIMAX, DENOUEMENT VISUAL AND AUDIO RESOURCES |
| AMERICAN DOCUMENTARY CATEGORIES: 3. RECORD OF BATTLE | MADE BY HOLLYWOOD FICTION MOVIE MAKERS USE OF COLOUR THE FIGHTING LADY |
| AMERICAN DOCUMENTARY CATEGORIES: 4. SOCIAL DOCUMENTARIES | OFFICE OF WAR COORDINATE GOV. INFO RELEASED TO PUBLIC/MEDIA ENSURE FILMS DIDN'T CONTAIN HARMFUL INFO 2 TYPES: 1. WAR PROPAGANDA AT SOCIO-CULTURAL VALUES 2. SOCIO POLITICAL DOCS MADE FOR AMERICAN CIVILIAN |
| KEY ASPECTS OF WAR DOCUMENTARIES | GOV SPONSORSHIP PRIVATE SPONSORSHIP NONFICTION FILMS CEASE DURING WAR INNOVATIONS DUE TO INFLUX OF FICTION FILM CAPRA MORE MONEY BEING INVESTED |
| BRITAIN INDOCTRINATION FILMS | POETIC EXPERIMENTAL SHORTS SEMI DOCS LACK OF VIOLENCE, LESS HATRED BRITAIN WILL SURVIVE CLASS DIVISION IN ENG. |
| BRITISH RECORDS OF BATTLE DOCS | VICTORY SERIES SUCCESSFUL CAMPAIGNS LARGE SCALE FEATURE LENGTH |
| BRITAIN SOCIAL DOCUMENTARY | SOCIALIST POV WHAT IS NEEDED FOR PEACE |
| CANADA INDOCTRINATION FILMS | MARCH OF TIME MEANING FOR CANADIANS, RELATIONSHIP TO THEM CANADA DOING THEIR PART CANADA IMPORTANT IN WORLD |
| CANADA RECORDS OF BATTLE | SHOT SHELL FILMS STRATEGY PRINCIPLE CONCERN WARFARE INFORMATIONAL AND ANALYTICAL LITTLE BATTLE SHOWN |
| CANADA SOCIAL DOCUMENTARY | EXCEPTIONAL IN SELECTION OF SUBJECTS |
| USA INDOCTRINATION FILMS | HISTORICAL COMPILATIONS ENEMIES ARE UNETHICAL, INHUMAN ALLIES TO HELP DESTROY ENEMIES FEAR OF INVASION |
| USA RECORDS OF BATTLE | BATTLE FILMS FULL OF VIOLENCE RACISM |
| SOCIAL DOCUMENTARY | PEACETIME THEME FOR SPECIAL REASON IMPROVING USA RELATION COUNTERACT ENEMY PROPAGANDA OVERBLOWN PICTURES OF AMERICAN LIFE BY HOLLYWOOD |
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