By Sherrill E. Grace, Patrick Imbert, Tiffany Johnstone
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Extra resources for Bearing Witness: Perspectives on War and Peace from the Arts and Humanities
But the horror of modern war is that she is not. 2 Understanding the Motivation to Enlist j o n a t h a n f. v a n c e Why We Fight was the title given to a seven-part ﬁlm series commissioned by the US government between 1942 and 1945 as a way to explain to Americans the issues of the Second World War. The decision to create this series arose from a belief that the majority of Americans were not fully aware of the philosophical issues involved in the war; they needed to be convinced of the dangers of isolationism and the necessity of joining the crusade against fascism.
Army values Through America’s Army, players have learned about rules of engagement (ROE), lifesaving, laws of war and Army Values, the set of noble values that are the foundation of the world’s premier land force (America’s Army). If warplay is complicit in contemporary military systems, it produces experiential understandings of war and warﬁghting that have social consequences that surpass concerns about affective modeling. I am reminded of the deeper implications of this subject by the fates of two young men: the Ontario teen already cited, whose obsession with Call of Duty led to a terrible tragedy, and another Ontarian, Omar Khadr, who has to date spent ten years in a Guantanamo cell, accused of war crimes because as a ﬁfteen-year-old child soldier he may have thrown a grenade that killed a US serviceman in Afghanistan.
Using the theoretical concepts of performance studies, he identiﬁes what he calls a contemporary “reenactment culture” in today’s Western societies. ” He opens by acknowledging the presence of these games in his own life, in his home (where his son plays them), and in current affairs, and he moves from there to an exploration of the ethical and behavioural consequences of “warplay,” whether in computer games or actual reenactments. Filewod argues that the human activity of role playing, when focused on war, reveals important aspects of gender identity, of a masculinist desire for power, and a belief (illusory in the ﬁnal analysis) in personal agency that is severed from interpersonal responsibility.