Francis Ford Coppola's Film Apocalypse Now

To someone just picking up this book, this scene would simply look like some poor soldiers developing a temporary and innocent coping mechanism to deal with Death as they face him head on. But

This all aims at promoting the emotion of pity, to empathize upon the suffering forced upon the soldiers that Owen wishes the audience to feel, to recognize the irony on the glorification of war.

War can destroy a man both in body and mind for the rest of his life. In “The Sniper,” Liam O’Flaherty suggests the horror of war not only by presenting its physical dangers, but also by showing its psychological effects. We are left to wonder which has the longer lasting effect—the visible physical scars or the ones on the inside?

The soldier hears a quiet whistle blowing in the distance but the sun hasn't risen. He hears people running and shouting “GOING OVER!”, before he knows it all the soldiers are all lining up against the wall of the trench and then he hears a voice shouting, but couldn't make it out what the voice was saying and then before he could even blink his eyes everyone suddenly started running over, all he can see is his friends getting mowed down like blades of grass by the enemy's machine guns. As he runs across, charring the enemy head on, he can't help but think that above the trench makes hell look like a picnic. As he gets to the enemy trench, silence falls across the war zone and then seconds later a gunshot breaks the silence, but the soldier is life less on the ground with the gun in his mouth. No one never knew what was in that trench to make him do what he did that day and no one

I have always enjoyed movies. But at some point I started to think of movies as more than just entertainment. I began to view them as a movie critic would, rather than just a casual viewer. Because of this perspective, I think of "Apocalypse Now" as one of the best American made movies I have ever seen. As a student of and an active participant in the late twentieth century media age, I feel justified in making this statement. In my lifetime of observation of American media, including fourteen months of intense movie watching in conjunction with my employment at a local video store, I have had an opportunity to observe a broad sampling of the films, and feel more than qualified to make this statement. By referring to

. . . Like I was losing myself, everything spilling out” (O’Brien 202). Provided with only laconic, expository definitions, an audience cannot truly feel the pains of war. O’Brien utilizes descriptions which evoke all the senses and submerge the audience in the unique and powerful sensations of war. Witnessing war’s pains through the familiar tactile crunch of an ornament or the splash of liquid spilling, the audience can immediately understand the inconceivable pressure placed on the soldier’s injured body. O’Brien continues, “All I could do was scream. . . . I tightened up and squeezed. . . . then I slipped under for a while” (203). His abrupt syntax and terse diction conveys a quickness to these events. Not bothering with extraneous adornment, his raw images transport the audience to the urgency of the moment and the severity of the pain. Now supplied with an eyewitness’s perspective of war’s injuries, the audience can begin to recognize the significance of the suffering. O’Brien tells his audience, “Tinny sounds get heightened and distorted. . . . There was rifle fire somewhere off to my right, and people yelling, except none of it seemed real anymore. I smelled myself dying” (203). In the same frame, O’Brien paints the rumbling chaos of the big war juxtaposed with the slow death of the small individual. His description emphasizes the purposeless discord and confusion of war and seeks to condemn its disorder. He argues that war’s lack of

aspects. From the fog, shuffling of tree branches, and the solemn glare of the soldier's eyes.

In this book, Tim O’brien reveals all his experiences in detail about the war; as well as stories about his fellow soldiers, and makes a true, but over the top about them. He explains how he feels through stories that are difficult to clearly identify as “true.” This book has a lot of themes, death and violence is one of the major themes.

During the movie you start to realise that none of the soldiers use their first names, all their last names and nicknames. This shows the close bond they hav with each other. The film also shows a few burials

that the war is not glamorous or a game. You see how stormy it is and

(73) While in the bush the soldiers are confronted with not only the enemy but the enemy of their mind. They start to hear sounds that are not even there. The dead silence triggers sound in their heard. This can make many soldiers crazy. The reality of the sounds is not really there but the soldiers make the sounds and

The horrors of war were depicted by the constant threats to the characters lives, the brutal conditions of the bad weather, hunger and combat. Soldiers had to battle the enemy along with nature. Soldiers would become stressed, paranoid and start losing their personalities. As Captain Miller says, “I just know that every man I kill, the farther away from home I feel.” This quote shows the mental toll on these soldiers.

The first fascinating difference between this work and the majority of other war photography presents itself in a fairly obvious manner. The soldiers’ faces in “Into the Jaws of Death” are turned away from the photo so as to make them invisible to the audience. Instead, we see only the supplies on their backs and the camouflage on their uniforms. The effect of this lack of eye contact is that the audience cannot connect with the people in the photograph. The majority of other wartime photographs used iconic images of courageous and vibrant soldiers rushing fearlessly into the glory of battle or contained motivational quotes requesting support for the troops. “Into the Jaws Of Death” does neither of these, entirely on purpose. Because we as the audience do not have eye contact

Spielberg’s Saving Private Ryan has been credited as being the most accurate war recreation film in history. It is the winner of five Academy Awards including Best Director for Steven Spielberg. Like Jaws, the opening scene has perfect equilibrium, calm at both the beginning and the end. Another thing this opening scene has in common with Jaws is the under water camera, and there are also shots from the killer’s point of view – in this case, the shooters’. In addition to this, they both end with calm water; a common theme in Spielberg’s openings. At the beginning of the scene, there is a long shot of a war cemetery; this drives home the seriousness of the war and just how many people died as it is very easy to forget the sheer number of people who were murdered during the war. The extreme close up on the eye of an old Captain Miller (Tom Hanks) gives the audience a feeling of connection with the character and lets them know he is going to have an important role within the film. During the fight scene the camera angles are wild movements and a handheld camera is used to give the effect of a person running as though it is from one of the soldiers’ point of view as this is likely to be something like what they would have seen and experienced. There are many visual effects such as one boat being set on fire with the soldiers still

Photographers were expected to be able to take these mind blowing pictures of the war in rapid action, but the truth is there technology back then wasn’t advanced enough to be able to produce these sort of images. The images took only minutes to develop but a huge