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Essay / Research Paper Abstract
In ten pages this paper examines how American General and first President of the United States George Washington is depicted in various ways as heroic, human, and flawed in Jeff Shaara’s The Glorious Cause, and in the films Benedict Arnold: A Question of Honor, The Conquerors: General Howe, Conqueror of New York, The Crossing, and D.W. Griffith’s America. Three sources are listed in the bibliography.
Page Count:
10 pages (~225 words per page)
File: TG15_TGgeowash.rtf
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Unformatted sample text from the term paper:
remote and enigmatic figure. Washingtons image adorns coins, paper money, and is etched in stone on Mount Rushmore. His legend and moral values are the stuff of
nursery rhymes and childrens fairytales. If sketches and paintings are to be believed, George Washington was standing confidently on the boat he knew would successfully cross the Delaware River,
which would enable the rebels to sail away with a victory in the American Revolution. However, pathetically little remains unknown about George Washington, beyond his wealthy beginnings, his marriage
to widowed mother of two Martha Custis, his military exploits, and his reluctant ascension to the political leadership of a fledgling colonial America. Certainly, Washington was a hero, but
what was he like as a man? What were his hopes, his fears, and his shortcomings? There are many portrayals of George Washington featured in D.W. Griffiths 1924
silent film America; Jeff Shaaras 2002 historical novel The Glorious Cause; Mikael Salomons 2003 cable film for the A&E Network entitled Benedict Arnold, A Question of Honor; the History Channels
2005 film General Howe, Conqueror of New York, and The Crossing, another A&E made-for-cable film by Robert Harmon in 2000 (based upon Howard Fasts text of the same name).
They each offer depictions of George Washington as perceived by authors, screenwriters, and filmmakers. D.W. Griffith was one of Americas earliest and most successful directors of the silent film era.
Many of his films - including The Birth of a Nation (1915) and Intolerance (1916) - were packaged as historical costume dramas that were heavy on fictional entertainment and
light on factual accuracy. Griffith regarded himself as Americas preeminent moral philosophers, and his films emphasized his preferences and accentuated his biases against African Americans and Native Americans.
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