The Film Analysis Of The Film Kokoda

Based off Charles Webb’s 1963 novel by the same name, The Graduate is an American romantic comedy/drama released in the United States on December 21, 1967 starring Dustin Hoffman, Anne Bancroft, Katharine Ross, and William Daniels. The film was directed by Mike Nichols, produced by Lawrence Turman and the screenplay written by Buck Henry and Calder Willingham. The film was produced by Lawrence Turman/Mike Nichols productions starting in March of 1967. Mike Nichols has also directed other well known films such as Catch-22 (1970), Working Girl (1988), and more recently Closer (2004). The film was distributed by AVCO Embassy Pictures nationally and United Artists internationally. AVCO Embassy Pictures studio, founded by Joseph E. Levine, the films executive producer, also claims production/distribution for other hit films such as Godzilla, King of Monsters! (1956), The Fog (1980), and Prom Night (1980). The movie was well received due to its $104 million dollar box office opening tab. The score was produced by Dave Grusin and the songs written by Paul Simon and Art Garfunkel.

In comparison to the film, in most scenes there is barely any or very little resources carried by the soldiers. Also the boots soldiers wore were incorrectly displayed as they were meant to cut deep into the mud and have better support, however, in the film were displayed as flimsy as sunk into the mud. Therefore the film of Kokoda was an inaccurate representation of the Australians, and thus was an inaccurate historical source of

The film analyzed in this paper, "Aladdin" is set in an Arab culture following the life of a street rat, Aladdin and his pursuit to marry the royal princess Jasmine. This paper will examine elements in the film such as culture and social class through different sociological perspectives. These will include conflict theory, the functionalist perspective and symbolic interactionism. It will also explore Cooley 's look glass self theory and how Aladdin 's negative self concept affects his actions. Lastly, it will view through the feminist theory how Jasmine and women are portrayed and other stereotypes and discrimination in the film.

There is one scene where the three flag raisers entered a crowded stadium before a football game which typified how an image of war can be so different to the reality of war. The flash photography, the cheering, the roar of the crowd all went to John Bradley’s head and he had flash backs of the fighting on Iwo Jima and the genuine heroes that he had left behind. This scene contrasts what the reality of war, were all the men are dug in and fighting for there life, and the images of war. Ira Hayes says “I know it’s a good thing, raising the money and that, ‘cause we need it. But, I can’t take them calling me a hero. All I did was try not to get shot. Some of the things I saw done, things I did, they weren’t things to be proud of, you know?” Clint Eastwood shows continuously, through his characters physiology shows how one single photo can be so different what really makes up the battle of Iwo Jima. The aim was to get war bonds; the minds of the three main characters through Clint Eastwood’s directing showed a strong insight to how the reality of a war and an image of war can be so contrasting.

Some of the soldiers were such cowards that they injured themselves just to be taken away in a helicopter and extracted from the war scene. The soldiers “spoke bitterly about guys who had found release by shooting off their own toes or fingers. Pussies, they’d say. Candy-asses” (22). However, deep down inside, the soldiers who did all the mocking “imagined the quick, sweet pain, then the evacuation to Japan, then a hospital with warm beds and cute geisha nurses” (22). The soldiers even dreamt at night about freedom birds. The men were flying on a “real bird, a big sleek silver bird with feathers and talons and high screeching… The weights fell off; there was nothing to bear” (22). The soldiers did not want to be at war, they imagined to themselves “It’s (the war) over, I’m gone!—they were naked, they were light and free” (22).

Comparatively Lindsay Murdoch presents an article, They were only 19 ... and some were even younger published by the Sydney Morning Herald on the 16th of February 2012. It explores the non-fictional sorrowful memories of the Australian veterans of WWII stationed at “Singapore, the Fortress of the Empire” before being captured. The visual is of the five men along with their evocative but accurate comment drawn from memories of an absolute reality. Ultimately, these texts provide the individual histories of men and women that were captured by the Japanese during WWII. Thus displaying their joint suffering on and off the battlefield as that is the reality of their situation.

The film showed the effects that the war had on the soldiers. As well as, the effects that nationalism had on all the soldiers in the film. For example, the only reason the soldiers went to war was in order to be able to fight for their motherland. The film is realistic because it showed how the soldiers reacted to their comrades dying, as well as, their mental breakdowns and depression in the film. The film also showed a sense of realism by having soldiers give up hope on getting better in the hospital care they have been put into.

Taking place on the island of Peleliu, these men went through horrific things and needed an incredible amount of physical and mental strength to push themselves to fight. Throughout the book, there are many circumstances that seem to have happened that the authors describe very vividly with specific details. Although these scenes may be hard for the viewer to imagine actually happening, there is such great description of the events that makes you want to keep reading more about the things that these men went through during battle. The book describes men committing suicide with their swords and chopping off heads and it can be hard to imagine someone doing that. Personally, I really think you can gather a good understanding that this war in the Pacific was one of the deadliest battles in history from the examples from the book of things that were everyday events for these people. There were more than forty million fallen men by the time the war was over and the Japanese committed many abhorrent acts toward their prisoners. They would deprive them of food, shelter, medical necessities, and many other vital resources needed to survive a time like World War

The great majority of Australian prisoners were taken captive by the Japanese in the Second World War, it is their stories that are the most well known. Over 22,000 Australians became prisoners of war of the Japanese in southeast Asia.

Kokoda Track- World War 2 Empathy Task This is an empathy task of a soldier named Jack Boland. He was a conscript soldier (choco) who was nineteen years old. He had no experience when he was conscripted to join the 11th Platoon of the 39th Battalion. The 39th Battalion existed as a unit for only 2O months of World War II, but its story is one of the most unusual and proudest in the annals of Australian military history. It was formed in haste from disparate Victorian militia elements in Oct-Nov 1941. Jack Boland is a real person who fought at the Kokoda Track. The Kokoda Track is in Papua New Guinea, where the 39th Battalion, 53rd Battalion and the 21st Brigade fought against the Japanese who were trying to invade Port Moresby but due to the

This disassociation allows for the whole sale slaughter of people with moral justification. The unforeseen byproduct of this disassociation, as Cameron points out, can be seen in the 1950’s and 1960’s, when many veterans consigned their wives to the kitchen. The intended product of this disassociation, however, was to kill Japanese soldiers. The Marines would reap the benefits of this first in the Guadalcanal campaign of 1942. With the U.S. Marines of First Division engaged in a life or death struggle against their Japanese opponents, the cartoonish portraits of four-eyed, slow Japanese soldiers burned into the American Marine’s mind kept them from thinking about the enemy as men who are carrying pictures of their families eerily similar to the pictures that were carried by Americans. Using the invasion of Peleliu as a backdrop for his analysis, Cameron expands upon his analysis of the individual Marine to the collective thought of the organization. The U.S. Marine self-image caused Marine units on Peleliu to charge head-first into the waiting Japanese defense with foolhardy, head on assaults which they stubbornly pressed. The Marine Corps, even through their hyper-masculine indoctrination, had not prepared their Marines any better than their U.S. Army counterparts on the island. Before Peleliu, the perception of combat had been that of a clean affair due to the romanticized images of World War I. After, due to Tom Lea’s reporting of events, the

In the film, the soldiers fought very hard. They went through a lot in this war. They had to defend themselves and their territory. Often times they ran low on food and water. A ton of men died everyday when they were fighting. The soldiers had to deal with orders that were not necessarily smart orders. They had to protect themselves against Germany.

The Japanese brutality was heavily influenced by bushido, a historic code of honour and morals that dictates how you act and live. The Japanese treated the Australian soldiers the way they did because their code tells them that those who surrender are weak and do not deserve your thoughts, and it is considered an unspeakable disgrace. Although the Japanese Imperial military committed to follow the samurai code of bushido after the restoration of the emperor in 1868, the code that they followed was a falsification of bushido. For the Japanese soldiers, bushido meant giving their life to the emperor; surrender was shameful; those who surrendered were thought of as dead; and sympathy for the defeated was weakness. No sympathy for the defeated was definitely not a part of the traditional bushido, the one practised by the samurai. This

You don’t know where the next shot is coming from and you can never relax because the pacing of the movie comes like a tidal wave of dread. An interesting creative decision here is that even though this is clearly WWII and we know who the enemy is, you never see a single German soldier, not even a Nazi Germany flag is present. The closest you get to an enemy is the aerial assault from many jets fighter. The absence of a physical enemy, it doesn’t affect this survival film one bit, if anything it strikes up more paranoia keeping the audience uneasy the way through.

The war film genre includes films about warfare, including naval, air or land battles. Films in this genre may focus on the battles, prisoners of war, military training, life during wartime or morality and humanitarian issues of warfare. This genre commonly includes works of fiction, works based on historical facts and occasionally works based on alternate-history fiction. According to American Cinema/American Culture, the genre also includes four narrative elements: the suspension of morality during times of war, the prioritization of collective goals over individual motivations, the rivalry between men and their objectification of women and the issues of reintegrating veterans. (Belton 165-71)