Invisibility Essay

 

 

Answer the following prompt in a complete essay:
During World War II, how did both the American and Japanese governments strive to make prisoners of war
invisible to the outside world?
Use examples from multiple sources (at least four) to inform how these governments tried to make the
prisoners invisible. Include parenthetical citations for each source used. You must use at least one quote from
Unbroken, one from Mine Okubo, and one from a primary source.

 

Sample Solution

Invisibility Essay

War can be loud and visible or quiet and remote. It impacts the individual and entire societies, the soldier and the civilian. The treatment of American and allied prisoners by Japanese is one of the abiding horrors of World War II. During WWII, both the U.S. prisoners of war in Japan and Japanese-American citizens in the United States underwent efforts to make them invisible through dehumanization and isolation. Every one of these people became invisible in some way to their families, their country, or their communities. For example, Laura Hillenbrand`s Unbroken hero, Louie Zamperini, like so many other POWs, is imprisoned, beaten, and denied basic human rights in POW camps throughout Japan. The constant threats to their lives, starvation, and beatings stripped them of their identity to the point that when Louie looks at himself in the mirror, he only see “a dead body breathing.” Dehumanization tactics by Japanese guards denied prisoners their dignity and humanity.

Vaporwave took commending the past from hypnagogic pop and subverted the tunes to be practically evil, painting the passings of music long past.

The vaporwave development brought to fulfillment numerous new subgenres. Mallsoft, one of the many, is a subgenre of vaporwave that centers around the sentiments of realism and industrialism that accompany being within a shopping center. Numerous tunes right now intended to be the perfect melody for tuning in to while entangled in the advances and blinding forms of publicity inside a strip mall (Chandler, Genre As Method). This branch was probably brought about by the enormous measure of vaporwave craftsmanship featuring strip malls and shopping centers. The following stage for specialists was to interface their ways of thinking and convictions about industrialism to music that they felt spoke to best what it feels like to be within a shopping center.

Future Funk is a subgenre of vaporwave that is fundamental center is the sentimentality. A large number of the examples utilized right now music are from the 1970’s, originating before the music by and large used to make vaporwave (Chandler, Genre As Method). This is the place the “funk” some portion of the name originates from. The objective of this classification is additionally very not quite the same as the topic of vaporwave. Rather than tossing industrialism notwithstanding audience members to constrain them to acknowledge it, future funk intends to get audience members far from commercialization. Future funk specialists make music that is nostalgic and lovely, intended to divert audience members from getting got up to speed in the consumerist media encompassing them (Chandler, Genre As Method).

Vaporwave itself is a sublet of the electronic music class. The term of electronic music can apply to any kind of music created by electrical or advanced methods; be that as it may, “for music to be unequivocally electronic then the author of the music must interface with the electronic medium and electronic preparing applied to his melodic idea” (Misachi). Right now, music is more a procedure of making music than a class. Vaporwave specialists apply an electronic procedure to recently made melodies or sound clasps to make a totally new sonic picture.

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