Analysis Of Into The Jaws Of Death

In Alexander Gardner’s Photographic Sketchbook of the Civil War, the haunting image “Harvest of Death” catches one’s eye with the seemingly endless field of corpses. The jarring facial expression on the figure in the foreground draws one into the narrative of the piece. However, our initial understanding of the image’s narrative is limited to what we can see and what we know of the circumstances surrounding it. While we know it was taken during the American Civil War, by simply looking at the photograph, we cannot know who is depicted. In black and white, it is difficult to even tell what side of the conflict these fallen soldiers fought for. We can interpret the image for our own readings, but we cannot tell what the artist intended us to see or what message he wanted to impart with it. These unknowns, however, are addressed in the related text associated with the image. These short passages can tell us a great deal about the photographer’s intentions and influence the way we read the image. Through the excerpt, we not only learn the intended meaning of the photography, but we also learn about Gardner’s political intentions and the key points he wanted his viewers to note within the image. Published as a pair, Gardner used his text to contextualize his images and inform the way we perceive them. This is clearly illustrated in “A Harvest of Death” and its accompanying passage.

Everyday men and women die in the most brutal way possible away from their family either killed from gun shots or landmines and they do come back. But in caskets, as images like these emphasize the destruction of war and these snaps just show the side effects of humankind's worse anger being shown. In the Article “The Stranger in the Photo Is Me”, Donald M. Murray expresses how harsh it really was in the war and how it changed himself forever and not in a good way. Not to mention, that he describes the way he felt ready to go to war, maybe even excited, but he wishes that horror on no one “I would not wish for a child or grandchild of mine to undergo the blood test of war” as the sacrifice these men and women go through is undeniably tremendous

gives us simple a wide view, so that we can see lot more scenes and

In Otto Dix’s “Shock Troops Advance Under Gas”, Dix presents the brutality of war for everyone to see. From the barbed wire snagging a troop’s arm to the gas masks, this work illustrates true horror. Dix’s illustration of war helps display that war truly is not something to write home about with pride. Thus, I present the argument that war is not something to be patriotic over, and it is not something we should be thanking the troops for. They are brave individuals, but the duties they perform are not – they are the product of cowardly nations. The purpose of this paper is to convey my personal feelings towards this work, war and how it is not the answer, and tying in my visit to the McNay Art Museum back to aspects of war.

how beautiful ideals were painted for our boys who were sent out to die. In War is a Racket, the

A similar idea is used In Bruce Dawes poem “Homecoming”, he uses vivid imagery and other poetic techniques to display his opinion on war. He uses his unique Australian cultural context that helps connect

O’Brien used imagery to illustrate the war in a sense to make you feel as if you were there with the soldiers. While staying short and simple, he was also very specific of the details. “Ted Lavender was shot in the head on his way back from peeing. He lay with his mouth open. The teeth were broken. There was a swollen black bruise under his left eye. The cheekbone was gone” [423] is a perfect example of how O’Brien used imagery. This passage makes you see in your mind what the soldiers seen through their eyes.

During times of war, it is inevitable for loss to be experienced by all. In the poems “The Black Rat” and “The Photograph” written by Iris Clayton and Peter Kocan respectively, the idea of loss is explored through an omniscient narrator recalling a soldier’s involvement in warfare. While Clayton writes of a soldier’s abrupt loss of hope and how this experience negatively affects his life, Kocan explores how the loss of a loved one affects a family sixty years later. While both poems incorporate similar techniques in imagery and narration, the time setting for each poem is different as “The Black Rat” is set in Tobruk, Libya during World War 2 and “The Photograph” is set during World War 1.

Distinctively visual texts use a variety of techniques to convey the experiences during the war. In John Misto’s 1996 play ‘The Shoe-Horn Sonata’ which is about women nurses enduring Japanese POW camps, such distinctive experiences as power and survival are shown through techniques like lighting, projecting image, sound, symbols, dialogue and body language.

At the same time, O’Brien struggles with destructiveness of the conflicting images of violence and peace in death through the juxtaposition of the imagery of the dead man. While “his one eye was shut, the other eye was a star-shaped hole.” The dead man has one shut eye that resembles a peaceful sleep, while the other side is obliterated by the grenade into a star-shaped hole. The image of the star-shaped hole in the dead soldier’s eye represents the hopes that he once had when he was alive: “He hoped the Americans would go away. Soon, he hoped. He kept hoping and hoping, always” (119). Furthermore, “his right cheek was smooth and hairless,” an image of untouched innocence that contrasts with his left cheek, which was “peeled back in three ragged strips,” destroyed by the violence O’Brien inflicts upon it. The juxtaposition of the butterfly that settles on his chin and the fatal wound on his neck, “open to the spinal cord…blood…thick and shiny” illustrate the complexity and ambiguity of the unnaturalness of war, depicted by the image of the dead man’s wrung neck, contrasted with the ironic peace and naturalism of death in the image of the fragile butterfly. These select images are also those that O’Brien chooses to fixate upon and develop throughout the chapter as he struggles to comprehend the moral implications of his actions. The innocence of the “slim, dead, almost dainty young man” is further reinforced when O’Brien describes his wrists as “wrists of a

The purpose of this essay is to compare the of Wendell Berry’s essay, “The Failure of War”, Dorianne Laux’s poem, Staff Sgt. Metz and Damon Winter’s photograph of Sgt. Brian Keith. All three of these pieces represent the controversial issue of War which is a topic for a argumentative piece. In two of the written pieces the writer acknowledges the opposition, however, the picture the opposition is implied. Each piece has a purpose aimed at an audience with an emotional appeal.

The use of images within the article evoke an emotional appeal. The first image shows two Marines at an education and career fair on base. The use of the Marines in the image is powerful because it puts the service member in front of the audience in a uniform where they are most commonly seen by the public in combat, or a tear jerker homecoming ceremony. These two scenarios stir provocative and moving emotions in the general public. Taking this image and placing it within the article connects the servicemember to the audience and then to the injustices committed by these for-profit

Poets frequently utilize vivid images to further depict the overall meaning of their works. The imagery in “& the War Was in Its Infancy Then,” by Maurice Emerson Decaul, conveys mental images in the reader’s mind that shows the physical damage of war with the addition of the emotional effect it has on a person. The reader can conclude the speaker is a soldier because the poem is written from a soldier’s point of view, someone who had to have been a first hand witness. The poem is about a man who is emotionally damaged due to war and has had to learn to cope with his surroundings. By use of imagery the reader gets a deeper sense of how the man felt during the war. Through the use of imagery, tone, and deeper meaning, Decaul shows us the

The mental implications of war on the soldiers challenged the way they functioned day to day. In the ‘Next War’ Owen demonstrates the mental implications through personifying death and engaging the responder with sensory imagery.

Because of the nature of the film and its tragic historical context, audiences could be less inclined to look closely at the backdrop due to it being uncomfortable or saddening to witness, but Joe Wright has deliberately forced the audience into a situation where they have no choice but to follow the action of the scene as the camera zooms into each condensed story; each soldier’s close-up shot is intended to leave a lasting impression of remorse and pity on the viewer. Personally, I feel that Wright’s abundance of zoom-in close-ups bring about the feeling that I am obliged to continue watching regardless of the sequence’s upsetting nature. This differs considerably from the intended use of the close-ups, which was simply to make it impossible for the spectator to look away, as I feel as though I wouldn’t even if I had the opportunity to. By having the camera at eye-level almost the entire time, the audience are required to feel the same hopelessness and fear and confusion that the soldiers on screen are experiencing, evoking a strong sense of sympathy from the spectator. It makes the scene feel much more immersive, and in a part of the film where the protagonist is facing quite considerable and immediate danger, it definitely raises the tension and suspense among audiences to be such a large part of that. Other camera angles in the scene have clearly been used to represent the status of different characters – one soldier who can be seen fidgeting nervously and looking blankly into space with a thousand-yard-stare is filmed at a high angle, which has the effect of making him seem vulnerable and weak. Other soldiers, grouped together on the bandstand and singing the hymn, “Dear Lord