Blog Assignment #7: Metaphors in Media/ Creating Reality

If I were to incorporate Forrest Gump into an event from the 21^st century, I would put him on the plane from the terrorist attacks on September 11, 2001. I chose this because it was a huge historical event that has drastically changed the stability of foreign affairs for the future. The scene that I think would be most appropriate for Forrest to be in would be him sitting next to one of the terrorist bombers on the plane. His jovial personality would lead Forrest to greet the terrorist with benevolence and altruism. This scene would be just like the scene in the movie where Forrest is sitting on the bus stop bench talking to anyone about anything. The conversation between Forrest and the terrorist would consist of Forrest talking about his time in the Vietnam War, his mother, and Jenny. The terrorist may seem uninterested or aloof, however he would really be listening and thinking about the irony of the conversation. Forrest would not think twice about to whom he was talking to. The flight would just be an opportunity for Forrest to open up to someone in a confined setting, regardless of whom the person was. The scene would first start when walking through security, and focus on Forrest’s buoyancy when stepping onto the plane. After the attacks, Forrest would help people with an open mind and open heart. Of course, in the movie the attacks would not have been as drastic as they were in real life in order for Forrest to survive and be able to help people the way he would in any other situation. His devotion to the nation and his unbiased views would lead him to help anyone in need.

Blog Assignment #6: Iconic Images as Tropes

Rosie the Riveter is an iconic image of the United States, representing women that worked in the factories during World War II. When the American men were in the military overseas fighting in the war, women replaced them with dedication and perseverance in the factories. The image of Rosie the Riveter in the “We Can Do It” poster was originally an advertisement properly captivating the enthusiasm felt by women and their new jobs. This image is a perfect paradigm of women during World War II, showing their willingness to support the country, seen through their work. This image is actually ironic because the quote, “We Can Do It” is falsely represented by the lack of muscle shown on Rosie! This irony creates a trope through implying the opposite of flashing her muscles; however, her determination is seen through her austere facial expression. This image relates to my field of study as a journalism major, because I can do it! By enforcing the notion to not judge people based on appearances, race, or gender, this iconic image perfectly encompasses the enthusiasm and commitment one sees when taking on a new task. Initially, Normal Rockwell’s image of Rosie the Riveter was posted on the cover of the Saturday Evening Post in 1943. However, this image has received profound recognition as not only the cover of a newspaper but as the image of a generation. This iconic image works as a trope in relation to its historical context. When this image was produced it may have been considered that women actually cannot replace men in the work force, acting as irony. This image is a metonym because Rosie the Riveter does not represent one individual woman, Rosalind P. Walter, the woman from which the image developed; however, the image represents an entire generation of women during World War II. Today, this image captures the changes in society that have been made since the struggle for women’s rights. 

Blog Assignment 5: Representing Others

The media manipulates our perception of war. In regards to sympathy and feelings of accomplishment, different sources of media guide how the public feels about each of the battling sides during combat. Whether images evoke condolence for the brave or hatred for the enemy, our thoughts are persuaded by the messages seen visually. In Regarding the Pain of Others, Susan Sontag wrote, “Or the images may be too terrible, and need to be suppressed in the name of propriety or of patriotism… To display the dead, after all, is what the enemy does.” (64). According to Sontag, the images that are used to show the conditions of war are manipulated to augment ardent emotions within the viewers. Images may be manipulated because they are too appalling, or they may be fabricated to induce advantageous feelings. As viewers, we do not consider the implications of these situations. We do not think about the lives of innocent civilians. Clint Eastwood’s film, Letters from Iwo Jima, focuses on the horrible conditions of the Japanese soldiers during the Battle of Iwo Jima. The film guides our sympathy towards Saigo, a baker forced into the Japanese army. A connection to Saigo’s life is established through his flashbacks from before he was in the army. This aspect of the film leads viewers to innately feel compassion for Saigo and the Japanese troops. This humanitarian nature supports the theory that the media controls our emotions. For example, in the film, when the two Japanese soldiers surrender to the Americans, we resent the Americans for their brutality. However, Eastwood gives the viewers false hope regarding the sincerity of the Americans when they offer the Japanese soldiers water prior to shooting them. Seeing the war through Japanese eyes directs our solace towards the Japanese and away from the Americans reinforcing the idea that the media controls the way we feel about combating sides during war.