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Changed line(s) 1 (click to see context) from:
-> ''In early 2010, not long after the release of Creator/QuentinTarantino’s Second World War revenge epic, “Film/InglouriousBasterds,” I began teaching a course on American history at Moscow State University. When a Russian friend asked me what I thought of the film I told him I loved the way the director created an alternate history in order to make a larger point about the universal nature of heroism. My friend and, as I later learned, lots of other Russians took issue with the film for precisely that reason. “Is this,” he asked, “how Americans really perceive World War II?” In Russia, where the annual May 9th celebrations of the German surrender dwarf those of the Fourth of July in this country, the sacrifices that were crucial to defeating Hitler are a point of huge national pride. The history department at the university features a marble monument to hundreds of university students who died defending the country. Because [[RussianGuySuffersMost many Russians feel that the world]]--and particularly the United States—has never properly recognized the scale of their losses, they tend to see “Inglourious Basterds” not as a revenge fantasy but as an attempt to further whitewash their role in Hitler’s demise. The alternate history in “Inglourious Basterds” failed there because the actual history had yet to be reconciled.''
to:
-> ''In early 2010, not long after the release of Creator/QuentinTarantino’s Second World War revenge epic, “Film/InglouriousBasterds,” I epic,'' Film/InglouriousBasterds, ''I began teaching a course on American history at Moscow State University. When a Russian friend asked me what I thought of the film I told him I loved the way the director created an alternate history in order to make a larger point about the universal nature of heroism. My friend and, as I later learned, lots of other Russians took issue with the film for precisely that reason. “Is this,” he asked, “how Americans really perceive World War II?” In Russia, where the annual May 9th celebrations of the German surrender dwarf those of the Fourth of July in this country, the sacrifices that were crucial to defeating Hitler are a point of huge national pride. The history department at the university features a marble monument to hundreds of university students who died defending the country. Because [[RussianGuySuffersMost many Russians feel that the world]]--and particularly the United States—has never properly recognized the scale of their losses, they tend to see “Inglourious Basterds” not see'' Inglourious Basterds ''not as a revenge fantasy but as an attempt to further whitewash their role in Hitler’s demise. The alternate history in “Inglourious Basterds” failed in'' Inglourious Basterds ''failed there because the actual history had yet to be reconciled.''
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Changed line(s) 2 (click to see context) from:
-->-- '''[[http://www.newyorker.com/culture/culture-desk/tarantino-unchained Jelani Cobb]]'''
to:
-->-- '''[[http://www.newyorker.com/culture/culture-desk/tarantino-unchained Jelani Cobb]]'''Cobb]]'''
->''"Pushy Americans, always showing up late for every war! Overpaid, oversexed and ''over here''!"''
-->-- '''[[FakeUltimateHero Fowler]]''', ''WesternAnimation/ChickenRun''
->''"Pushy Americans, always showing up late for every war! Overpaid, oversexed and ''over here''!"''
-->-- '''[[FakeUltimateHero Fowler]]''', ''WesternAnimation/ChickenRun''
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Changed line(s) 2,15 (click to see context) from:
-->-- '''[[http://www.newyorker.com/culture/culture-desk/tarantino-unchained Jelani Cobb]]'''
-> ''When I think of the men and the ships going down\\
While the Russians fight on across the dawn\\
There's London in ruins and Paris in chains\\
Good people, what are we waiting on?\\
Good people, what are we waiting on?\\
\\
Yes, I thank the Soviets and the mighty Chinese vets\\
Allies the whole wide world around\\
To the battling British, thanks, you can have ten million Yanks\\
If it takes 'em to tear the fascists down, down, down\\
If it takes 'em to tear the fascists down''
-->-- '''Music/WoodyGuthrie''', ''What are we waiting on?'' (written and sung before America's entry in 1941).
-> ''When I think of the men and the ships going down\\
While the Russians fight on across the dawn\\
There's London in ruins and Paris in chains\\
Good people, what are we waiting on?\\
Good people, what are we waiting on?\\
\\
Yes, I thank the Soviets and the mighty Chinese vets\\
Allies the whole wide world around\\
To the battling British, thanks, you can have ten million Yanks\\
If it takes 'em to tear the fascists down, down, down\\
If it takes 'em to tear the fascists down''
-->-- '''Music/WoodyGuthrie''', ''What are we waiting on?'' (written and sung before America's entry in 1941).
to:
-->-- '''[[http://www.newyorker.com/culture/culture-desk/tarantino-unchained Jelani Cobb]]'''
-> ''When I think of the men and the ships going down\\
While the Russians fight on across the dawn\\
There's London in ruins and Paris in chains\\
Good people, what are we waiting on?\\
Good people, what are we waiting on?\\
\\
Yes, I thank the Soviets and the mighty Chinese vets\\
Allies the whole wide world around\\
To the battling British, thanks, you can have ten million Yanks\\
If it takes 'em to tear the fascists down, down, down\\
If it takes 'em to tear the fascists down''
-->-- '''Music/WoodyGuthrie''', ''What are we waiting on?'' (written and sung before America's entry in 1941).Cobb]]'''
-> ''When I think of the men and the ships going down\\
While the Russians fight on across the dawn\\
There's London in ruins and Paris in chains\\
Good people, what are we waiting on?\\
Good people, what are we waiting on?\\
\\
Yes, I thank the Soviets and the mighty Chinese vets\\
Allies the whole wide world around\\
To the battling British, thanks, you can have ten million Yanks\\
If it takes 'em to tear the fascists down, down, down\\
If it takes 'em to tear the fascists down''
-->-- '''Music/WoodyGuthrie''', ''What are we waiting on?'' (written and sung before America's entry in 1941).
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Changed line(s) 5,7 (click to see context) from:
While the Russians fight on across the dawn \\
There's London in ruins and Paris in chains \\
Good people, what are we waiting on? \\
There's London in ruins and Paris in chains \\
Good people, what are we waiting on? \\
to:
While the Russians fight on across the dawn \\
dawn\\
There's London in ruins and Paris inchains \\
Good people, what are we waiting on? \\chains\\
There's London in ruins and Paris in
Good people, what are we waiting on? \\
Good people, what are we waiting on?\\
Changed line(s) 10,13 (click to see context) from:
Yes, I thank the Soviets and the mighty Chinese vets \\
Allies the whole wide world around \\
To the battling British, thanks, you can have ten million Yanks \\
If it takes 'em to tear the fascists down, down, down \\
Allies the whole wide world around \\
To the battling British, thanks, you can have ten million Yanks \\
If it takes 'em to tear the fascists down, down, down \\
to:
Yes, I thank the Soviets and the mighty Chinese vets \\
vets\\
Allies the whole wide worldaround \\
around\\
To the battling British, thanks, you can have ten millionYanks \\
Yanks\\
If it takes 'em to tear the fascists down, down,down \\down\\
Allies the whole wide world
To the battling British, thanks, you can have ten million
If it takes 'em to tear the fascists down, down,
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Changed line(s) 2 (click to see context) from:
-->-- '''[[http://www.newyorker.com/culture/culture-desk/tarantino-unchained Jelani Cobb]]'''
to:
-->-- '''[[http://www.newyorker.com/culture/culture-desk/tarantino-unchained Jelani Cobb]]'''Cobb]]'''
-> ''When I think of the men and the ships going down\\
While the Russians fight on across the dawn \\
There's London in ruins and Paris in chains \\
Good people, what are we waiting on? \\
Good people, what are we waiting on?\\
\\
Yes, I thank the Soviets and the mighty Chinese vets \\
Allies the whole wide world around \\
To the battling British, thanks, you can have ten million Yanks \\
If it takes 'em to tear the fascists down, down, down \\
If it takes 'em to tear the fascists down''
-->-- '''Music/WoodyGuthrie''', ''What are we waiting on?'' (written and sung before America's entry in 1941).
-> ''When I think of the men and the ships going down\\
While the Russians fight on across the dawn \\
There's London in ruins and Paris in chains \\
Good people, what are we waiting on? \\
Good people, what are we waiting on?\\
\\
Yes, I thank the Soviets and the mighty Chinese vets \\
Allies the whole wide world around \\
To the battling British, thanks, you can have ten million Yanks \\
If it takes 'em to tear the fascists down, down, down \\
If it takes 'em to tear the fascists down''
-->-- '''Music/WoodyGuthrie''', ''What are we waiting on?'' (written and sung before America's entry in 1941).
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Added DiffLines:
-> ''In early 2010, not long after the release of Creator/QuentinTarantino’s Second World War revenge epic, “Film/InglouriousBasterds,” I began teaching a course on American history at Moscow State University. When a Russian friend asked me what I thought of the film I told him I loved the way the director created an alternate history in order to make a larger point about the universal nature of heroism. My friend and, as I later learned, lots of other Russians took issue with the film for precisely that reason. “Is this,” he asked, “how Americans really perceive World War II?” In Russia, where the annual May 9th celebrations of the German surrender dwarf those of the Fourth of July in this country, the sacrifices that were crucial to defeating Hitler are a point of huge national pride. The history department at the university features a marble monument to hundreds of university students who died defending the country. Because [[RussianGuySuffersMost many Russians feel that the world]]--and particularly the United States—has never properly recognized the scale of their losses, they tend to see “Inglourious Basterds” not as a revenge fantasy but as an attempt to further whitewash their role in Hitler’s demise. The alternate history in “Inglourious Basterds” failed there because the actual history had yet to be reconciled.''
-->-- '''[[http://www.newyorker.com/culture/culture-desk/tarantino-unchained Jelani Cobb]]'''
-->-- '''[[http://www.newyorker.com/culture/culture-desk/tarantino-unchained Jelani Cobb]]'''
