1. Representing the “Real” and the Desire for a Shared Experience of War Dr. Morse “War” Winter 2016

2. Today’s Goals and Announcements 1.Talk about the structure of the final exam  Computer Lab in HH / BlueBook if Writing  Final Exam Chat Monday night beginning 8 p.m. 2.Group analysis of Homeland scenes today 3.Lecture Review – Opening Discussion of Fountain novel  Passage Analysis Practice for Final Long Essay One  Prepare favorite passage for class - “Week 10 Discussion” Post (Connect to Core Themes/Lecture)  Small Group Passage Analysis Activity for Thursday

3.  Discipline: Literary Journalism  Task: Interview Someone with War-Related Experience  Challenges:  Finding a Subject (Where to look, What kinds of experiences, etc.)  Researching and Preparing for the Interview  Making a Connection / Following Up  Telling Their Story (written or video)  Read the WH Chapter Literary Journalism and Conducting Interviews

4. Final Exam Structure – Terms/?s Click HereClick Here 2 Hour Exam Worth 100 points (50% Grade) Part One: Short Answer (6 of 8) (48 pts) –Weeks 5-10 (Writer’s Handbook Ch., Images, Readings Weeks 5-10, Study Questions, Discussion Materials) –Readings/Viewing: Orientalism, Partnoy, Infotainment, both novels, The Manchurian Candidate, The Official Story, Homeland Part Two: Passage Analysis (26 pts) –From Waiting for the Barbarians or from Billy Lynn’s Long Halftime Walk Part Three: Long Essay (26 pts) –Comprehensive: Based on Larger Themes –Sets 2 or more texts in dialogue with one another  Extra Credit Possibility

5. Final Exam Schedule 12:30 Section Friday, March 18 th (10:30-12:30) –HH207 Computer Lab 2:00 Section Thursday, March 17 th (1:30-3:30) –HH207 Computer Lab 3:30 Section Tuesday, March 15 th (4-6 p.m.) –HH217 Computer Lab

6.  Homeland Opening Credits: How does Carrie’s bipolar disorder complicate her role in the story, our relation to her, and our perception or understanding of the show’s message? How does the genre and performance of Jazz music function in Carrie’s daily life? In what ways does this television series grant us (audience) agency and invite us to participate in or reflect on current events or events in the story?

7.  Group Scene Analysis: In your groups you will analyze your assigned scene by discussing which of the below tropes shape meaning or promote a particular message in the episode. Also, answer the accompanying questions and gather specific evidence to show how filmic elements operate in the scene in class presentation.  Surveillance/VisibilityOtherness/OtheringReliability  Truth/The RealAlienation/DistancingViolence  Dramatic IronyMemory/RememberingIdentity  “Construction”Media ConvergenceSecrecy  Agency

8.  All Groups: Opening Act “Carrie Matheson goes to the prison” (Chapter 1)  How are we introduced to the series in the opening scene?  How is “urgency” performed?  How are “boundaries” set up and represented in the scene?  What is the central message or goal of this opening chapter?  How is knowledge withheld or given to the audience in this scene?

9.  Group 1: Second Scene “10 months later Carrie back in Washington” (Chapter 2 – 3:14)  What do we learn about Carrie from her apartment and her use of this private space?  How are items in her living space revealed to us through editing choices and how do these details inform or construct her identity? (items on the walls, clothing, the ring, inventory of bathroom medicine cabinet, unpacked boxes, etc.)

10.  Group 2: “Carrie Watches Brody’s Sexual Encounter with his Wife” (Chapter 7 – 26:57)  What roles do surveillance and looking play in the scene?  In what ways is this scene defined or characterized by violence?  (For example: How does the wife’s relation to her husband change when he reveals his “tortured body”?)

11.  Group 3: “Carrie Can’t Decide What to Wear” (Chapter 10 – 44:56)  How do the different clothes Carrie puts on characterize an internal struggle she is having?  What role does music play in this scene?

12.  Group 4: “Watching Brody Barbecue through the Window” (Chapter 10 – 46:28)  Contrast the two different conversations depicted in the scene.  How would you characterize the non-verbal interaction between Brody and his wife?

13.  Group 5: “Carrie Goes to See Saul and then Brody Goes Running” (Chapter 11 – 50:45)  How do editing “cuts” contribute to or shape meaning in this scene?  Does the scene put the audience in a “lean forward” and interactive orientation or does it put the audience in a “lean back” and distanced orientation?  How does the episode end, what questions are we left asking and how does it set up the next episode?

14. Lecture Review What is “reality,” and what does it mean to represent it for the viewer? –What are some of the limits to an immediacy of representation through language, media, memory? –How does a lean back perspective position the viewer differently from a lean forward perspective in a text? What are the differences between immediate or direct speech, indirect speech and free indirect speech? How do these narrative choices position us, the viewer, in the story? In relation to characters?

15. Direct Discourse: a representation or direct reporting of the exact words spoken by a character, presented in quotations; direct dialogue between characters. Indirect Discourse: a report of what someone else said, sensed, thought, commanded without directly reporting the exact words; usually used to talk about the past; usually presented in the third person; may also include narrator commentary Free Indirect Discourse: third-person narration as if from a character’s point of view (voice and moral perspective of original speaker) by combining features of direct and indirect speech (i.e. reporting actual phrases but indirectly using conditional, for example) –Point of View of Individual Voice (Billy) or of Collective Voice (Bravo)

16. How would you characterize the voice here (direct, indirect, free indirect, narrator, Bravo, Billy), and how do these choices shape meaning in the novel? “He’s too young. He doesn’t know enough…The past is always a shaky proposition for him, but there’s a backdoor link between the way he feels now, looking at the stadium, and the feelings he gets when he thinks about his family” (Fountain 10-11). “The fuck, Billy thought, how’d they know about that? ‘Depends on whose car,’ he said” (17). “The pussification of Bravo, that’s what the past two weeks have been, so now they’ll return to war all stale and crusty with a corresponding falloff of effectiveness” (22).

17. SECTION THREE: First Long Essay - Passage Analysis (ca. 40 Minutes) 26 pts (26% of final exam grade) The following passage is taken from (Fountain or Coetzee). Read it carefully and then write a passage analysis in which you clearly explain what is going on in this particular excerpt and describe the way the novel depicts or characterizes what is going on. Then, relate the passage and the argument to the concerns and themes of the text as a whole and to the course theme of war. Your answer should include warrants and specific reference to class discussions, lecture and the text. Remember, pay attention to the implications of word choice and applicable examples, and realize that claims about the text as a whole derive from a close-reading of particular details. Note: You might be asked to consider the role and function of the narrator or a particular theme (witnessing/complicity/language), etc. Please read the directions carefully.

18. On the Final Exam I might ask a basic question or identify specific themes to guide you through your analysis. Below are some strategies for this essay… 1) Describe the meaning of the passage (summarize the main point, purpose, argument of the passage) 2) Locate the passage in the text 3) Write an analysis of the passage (identify main theme, point out significant key terminology and logical connections between claims and concepts, word choice, use and function of example, etc. and explain meaning, purpose etc.) 4) Relate the passage to the concerns and themes of the text as a whole (Make connections that go beyond the passage) 5) Demonstrate how the themes present in the passage relate to the themes of the course theme of war (make connections to other texts or to specific lecture arguments)

19. “Yes,” Albert is saying into his cell, which he bought special in Japan, which is two years ahead of everyone else in the race for cell phone superiority. “Tell here than, you can tell her this picture will maul, but it will also reward.” He’s silent for a moment. “Carl, what can I say? It’s a war picture – not everyone gets out alive.” Meanwhile Crack is reading aloud from the sports pages of the Dallas Morning News, reciting the odds from America’s Line so Holliday and A-bort can get their bets down. There are more than two hundred ways to bet on the game, including whether the coin toss will be heads or tails, which song Destiny’s Child will open with at halftime, and which quarter will the network broadcast make its first reference to President Bush (Fountain 5).

20.  THE WHOLE LIFE OF THOSE SOCIETIES in which modern conditions of production prevail presents itself as an immense accumulation of spectacles. All that once was directly lived has become mere representation.  The spectacle appears at once as society itself, as a part of society and as a means of unification. As a part of society, it is that sector where all attention, all consciousness, converges. Being isolated – and precisely for that reason this sector is the locus of illusion and false consciousness; the unity it imposes is merely the official language of generalized separation.  The spectacle is not a collection of images; rather, it is a social relationship between people that is mediated by images.  The spectacle cannot be understood either as a deliberate distortion of the visual world or as a product of the technology of the mass dissemination of images. It is far better viewed as a Weltanschauung (World view) that has been actualized, translated into the material realm - a world view transformed into an objective force.

22. Sample Passage for Practice “I mean everybody loves you guys, black, white, rich, poor, gay, straight, everybody. You guys are equal-opportunity heroes for the twenty-first century. Look, I’m just as cynical as the next fella, but your story has really touched a nerve in this country. What you did in Iraq, you went head-to-head with some very bad guys and you kicked their ass. Even a pacifist twerp like me can appreciate that.” “I got seven,” Sykes says, which is what he always says. “Seven for sure. But I think it was more.” “Listen,” Albert says, “what Bravo did that day, that’s a different kind of reality you guys experienced. People like me who’ve never been in combat, thank God, no way we can know what you guys went through, and I think that’s why we’re getting push-back from the studios. Those people, the kind of bubble they live in? … They aren’t capbable of fathoming what you guys did.” “So tell them,” says Crack “Yeah, tell them,” says A-bort, and Bravo strikes up a spontaneous chant, tell them, tell them, tell them like a frog chorus or monks at prayer. They nearby Stadium Club patrons smile and chuckle like it’s all a high-spirited college prank. As abruptly as it started, the chanting stops. “Tell Hilary to tell them,” says Dime.