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Private Snafu Goes to War – The Public Domain Review. Between 1. 94. 3 and 1. Warner Bros.’ finest, the U.

S. Army produced a series of 2. Private Snafu. Mark David Kaufman explores their overarching theme of containment and how one film inadvertently let slip one of the war’s greatest secrets. Opening card of the U. S. army WWII short animated films “Private Snafu”, 1.

Source. In early 1. America still reeling from the attack on Pearl Harbor, Hollywood mobilized for war. Soon, silver- screen luminaries like Jimmy Stewart and Clark Gable were pinning wings to their lapels, making the roster of the U. S. Army Air Forces look like the opening credits of an MGM blockbuster. And while Tinseltown bristled with shiny new uniforms and all- too- perfect smiles, neighboring Toontown was also banging the proverbial drum. From Walt Disney to Warner Bros., the animation studios were letting slip the dogs — and ducks — of war. Donald, of course, was a natural recruit (he’s a sailor, after all).

The feathered hero saw action in the jungles of Asia, braving snipers and ravenous crocodiles to single- wingedly wipe out an enemy airbase. Not to be outdone, Daffy proved that he too was a bird to be reckoned with. In 1. 94. 3, the fowl- mouthed mallard parachuted commando- style behind German lines to wage unholy and untranslatable havoc.

Others followed suit: Popeye punched Nazis, Superman sunk ships, and Bugs Bunny peddled war bonds. For these veterans of paint and light, it was a merry war, a loony war, and for none so much as for the army’s secret mascot: Private Snafu. Every G. I. worth his creamed chipped beef knew the acronym, but when it first appeared on the barracks screen in a cartoon titled Coming!

Snafu! in June of 1. Situation Normal, All … Fouled Up!” Even watered down, this would seem a curious mantra for a series of training films aimed at preparing enlisted men for the challenges of modern world warfare — that is, until one meets the protagonist. Introduced, tongue- in- cheek, as “a patriotic, conscientious guy who thinks the army’s swell,” Private Snafu is a short, bald, motor- mouthed Brooklynite with a penchant for catching tropical diseases, leaking classified information, and accidentally blowing himself up. He is, in sum, a shining example of what a soldier should not be, and he stands as a testament to how the military brass evidently viewed G. I. Everyman: naïve, careless, and perpetually horny. Family friendly version of the phrase behind the acronym of SNAFU – Source.

• Some of the more famous Hollywood Buddhists are as follows: Keanu Reeves. In 1993, Reeves played Siddhartha in “Little Buddha”, it is rumoured that this role may.
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The cartoons were the product of an extraordinary collaboration. During the Second World War, the production of propaganda and training films fell to the First Motion Picture Unit, a motley crew of actors, artists, writers, and filmmakers under the supervision of Hollywood director Frank Capra, that champion of small- town American values who had already given the world Mr. Smith Goes to Washington (1. It’s a Wonderful Life (1. As the ringleader of this circus, Major Capra — later Colonel Capra — oversaw not only the Snafu shorts but also the highly successful Why We Fight series, which would win him an Academy Award for “Best Documentary” in 1. Typically, these projects were outsourced to local studios with the necessary time and resources at their disposal.

When it came down to finding a group of animators willing to take on Private Snafu, Disney proved too expensive and too dictatorial, and so the contract went to Leon Schlesinger’s Warner Bros. Cartoons studio. At the time, the boys of “Termite Terrace” (as the studio was known) were still relatively obscure. In retrospect, though, the talent roster behind the Snafu cartoons reads like a pantheon of animation icons: Chuck Jones, Friz Freleng, Bob Clampett, Frank Tashlin, and the “Man of a Thousand Voices” himself, Mel Blanc. FR-EE Her Full Movie. Into this mix, add Theodor Geisel (a.

Dr. Seuss”), then working as a political cartoonist for the leftist New York newspaper PM, and the merry mashup is complete. With so many dangerous minds on the job, it’s little wonder that work on the cartoons was carried out in the utmost secrecy. The security measures, which divided up production duties among different departments whose individual workers were not permitted to see the finished films, make the Warner Bros. Manhattan Project. But in spite of the hush- hush atmosphere, the subject matter seems harmless enough on the surface. X2 Full Movie In English on this page. The twenty- six surviving episodes — all black- and- white — run the gamut of military safety topics: everything from how to maintain proper hygiene in the field, to what to do when faced with a squadron of malarial mosquitos, to why it’s simply not a good idea to go skipping through a mine field.

In Bob Clampett’s Fighting Tools (1. Private Snafu learns that keeping his rifle muzzle- down in the mud can lead to a sticky situation when caught off guard by a Wehrmacht patrol. Similarly, in Chuck Jones’s Gas (1. Bugs Bunny makes a brief cameo — Snafu learns the value of keeping his gas mask handy when poisonous clouds of Teutonic nastiness catch him napping under a tree. Still from Gas (1. Bugs Bunny’s brief cameo, Snafu mistaking him for a gas mask – Source. Other cartoons foreground the challenges of working in exotic climes, such as Jones’s (ironically- titled) In the Aleutians — Isles of Enchantment (1.

Freleng’s Hot Spot (1. Snafu humping it out in the deserts of occupied Iran. Still others focus on the basic necessities, like keeping a proper diet on the march. In Frank Tashlin’s bizarre The Chow Hound (1. The moral: don’t waste chow. It dishonors the beasts who nobly volunteered to be “processed” for the cause.

Although such cock- and- bull stories may have had the desired effect of teaching soldiers the facts of military life, this didactic function obscures a more crucial one, that of providing an outlet for resentment while simultaneously defusing popular misconceptions, like the rumor that other branches of the service are safer and more glamorous (Three Brothers, 1. The Home Front, 1. In effect, these cartoons are a form of officially sanctioned subversion, a kind of Foucauldian pressure valve designed to vent the average soldier’s discontent, releasing just enough anarchic energy to keep the system functioning. Take, for instance, Gripes (1. Directed by Freleng, this short opens with Snafu on kitchen patrol, scrubbing pots, peeling potatoes, and, well, griping: I joined this here army to join in the fun,A- jabbin’ the Jap and a- huntin’ the Hun. And look at the job that they handed to me: KP, KP, KP, and KP!

After cataloguing more woes of army life — long lines, longer needles, and endless hours in the infirmary — the soldier’s thoughts turn to mutiny. Fortunately, Snafu’s imagined rebellion is interrupted by his personified military conscience: the gravely- voiced, cigar- smoking, perpetually five- o’clock- shadowed Technical Fairy, First Class. This cuddly sergeant with wings plays an avuncular role in the cartoons, managing, on occasion, to prevent the private from dismembering or otherwise making a fool of himself. Still from Gripes (1. Technical Fairy – Source.

In this case, the Technical Fairy shows Snafu a vision of what would happen if he were in charge. Upon receiving his fantasy promotion to “Master- Sarge- Super- Sarge- Whoopity- Doo,” Snafu proceeds to issue a series of dictums.

No more cleaning latrines. No more discipline. Instead, each enlisted man will be provided with “two dames” and an extended leave pass. As charming as this image of state- sponsored prostitution may be, it all goes pear- shaped when the Germans make a surprise attack. With his troops intoxicated and the Luftwaffe bearing down, Snafu decides it’s better to take a needle in the tuckus than an incendiary bomb where the stars and stripes don’t shine. The fantasy dissolves.

Hierarchy is restored.

Angulimala - Wikipedia. Angulimala. Angulimala chases Gautama Buddha.

Religious career. Teacher. Buddha. Angulimala (Pāli: "finger necklace/garland") is an important early figure in Buddhism, particularly within the Theravadasuttas. A ruthless serial killer who is redeemed by a sincere conversion to Buddhism, he is seen as an example of the redemptive power of the Buddha's teaching and the universal human potential for spiritual progress, regardless of one's background. Textual sources[edit]Two texts in the Pali canon concern themselves with Angulimala's initial encounter with the Buddha and his conversion. The first is the Theragatha, verses 8. Angulimala Sutta in the Majjhima Nikaya.[1][2] Both offer a fairly short description of Angulimala's encounter with the Buddha, and omit much of the background information later incorporated into the story (such as Angulimala being placed under an oath by a jealous teacher). These later additions- which appear in the sutta commentaries attributed to Buddhaghosa and Dhammapala (the Majjhima Nikaya commentary known as the Papancasudani (Ps) and the Therigatha commentary Paramattha- dipani (Pad), respectively) — may represent attempts by later commentators to "rehabilitate" the character of Angulimala — making him appear as a fundamentally good human being entrapped by circumstance, rather than as a vicious killer.

The sutta texts themselves do not provide for any motive for Angulimala's actions, other than pure sadism. Early life[edit]According to the sutta and commentarial texts, omens seen at the time of Angulimala's birth (the flashing of weapons and the appearance of the 'constellation of thieves' in the sky) indicated that Angulimala would become a robber. Angulimala's father, the Brahmin chaplain to the king of Kosala, named him Ahimsaka ("the harmless one" - derived from the Sanskrit and Pali word Ahimsa), as an attempt to deter the dark fate predicted at his birth (Pad indicates that he was initially named Himsaka ("the harmful one"), but that the name was later changed). Ahimsaka was sent to Taxila to study under a well- known Brahmin guru.

There he excelled in his studies and became the teacher's favourite student, enjoying special privileges in his teacher's house. However, the other students grew jealous of Ahimsaka's speedy progress and sought to turn his master against him. To that end, they made it seem as though Ahimsaka had seduced the master's wife and boasted that he was wiser than the guru. Unwilling or unable to attack Ahimsaka directly (Pad states that Ahimsaka was as "strong as seven elephants", while Ps states that the teacher worried that his business would suffer if he was found to have murdered a student), the teacher said that Ahimsaka's training was complete, but that he must provide the traditional final gift offered to a guru before the teacher would grant his approval.

As his payment, the teacher demanded 1,0. Angulimala would be killed in the course of seeking this grisly prize (Pad states that Angulimala was required to fetch 1,0. Ps states, even more strangely, that he was told to "kill a thousand legs", and gathered fingers only as an aid to keeping an accurate count). Sources indicate that one of his motivations may have been the unquestioning obedience to the guru - an echo of the higher principles governing his earlier life.

But tradition reports that it was probably his innate disposition to violence. In his previous life, he was a Yakkha - a man- eating spirit with superhuman strength. The guru's instructions may have also aroused a strange attraction for killing, or could be seen as a challenge to his manly prowess. It was reported that in all his past lives, two traits were prominent: his physical strength and his lack of compassion.

It is also suggested that he was in fact cast out of his Guru's house, branding him an outcast among Brahmins. Being unable to find acceptance anywhere, he turned to brigandry, murdering pilgrims and traders passing through the wilderness, and collecting a finger each from their right hands. As to the giving of goodbye gifts, this was customary in ancient India. We find an example in the Book of Pausya (Pausyaparvan, Mbh.

Vedic epic Mahábháratha. Here the teacher sends his disciple Uttanka away after Uttanka has proven himself worthy of being trustworthy and in the possession of all the Vedic and Dharmashastric teachings. Uttanka says to his teacher: "What can I do for you that pleases you (kim te priyam karaváni), because thus it is said: Whoever answers without (being in agreement with) the Dharma, and whoever asks without (being in agreement with) the Dharma (the Law in the literal sense of the word), either occurs: one dies or one attracts animosity." Friedrich Wilhelm (Prüfung und Initiation im Buche Pausya und in der Biographie des Náropa, Wiesbaden 1. Book of Manu" (II,1. Institutes of Vishnu". I. e., taking leave of one's teacher and promising to do whatever this teacher asks of you brings, according to the Vedic teachings, enlightenment or similar attainment.

It is therefore not unusual that Angulimála did his teacher's horrible bidding, although being a good and kind person at heart, in the knowledge that in the end he would reap the highest attainment. Life as a highway murderer[edit]Ahimsaka became a highwayman, killing travellers who passed through the forest. When the people of the kingdom began to avoid the roads, he entered the villages and dragged people from their homes. He never took clothes or jewels from his victims, only fingers.

To keep count of the number of victims that he had taken, he strung them on a thread and hung them on a tree. However, because birds began to eat the flesh from the fingers, he started to wear them around his neck as a garland. Thus he came to be known as Angulimala ("garland (or necklace) of fingers"). Meeting the Buddha[edit]Villagers petitioned the king of Kosala, who vowed to hunt down Angulimala. Fearing for her son's life, Angulimala's mother set out to find him and warn him of the king's intent. The Buddha perceived with his "divine eye" (faculty of clairvoyance) that Angulimala had slain 9. If the Buddha encountered Angulimala that day, he would become a monk and subsequently attain Nirvana. Watch Super Dark Times Megavideo.

If Angulimala encountered his mother instead, he would slay her as his thousandth victim and fall into hell for millennia as a matricide. The Buddha set off to intercept Angulimala, despite being warned by the people of the village in which he was staying. On the road through the forest of Kosala, Angulimala first saw his mother who came to warn him of the impending arrival of the kings' army. Angulimala, after some deliberation, decided to make her his 1. But then when Buddha also arrived, he chose to kill him instead. He drew his sword, and started running towards the Buddha. But although Angulimala was running as fast as he could, he couldn't catch up with the Buddha who was walking calmly.

The Blessed One willed a feat of psychic power such that Angulimala, though running with all his might, could not catch up with the Blessed One walking at normal pace" (MN 8. Thanissaro Bhikkhu). This bewildered Angulimala so much that he called to the Buddha to stop. The Buddha said that he himself had already stopped, and that it was Angulimala who should stop. Angulimala asked for further explanation, after which the Buddha said that he had stopped of being what he is trying to be so called Nirvana. Life as a monk[edit]Later, King Pasenadi (the king of Kosala) set out to find and kill Angulimala. He stopped first to pay a visit to the Buddha and his followers at the monastery where they dwelled.

He explained to the Buddha his purpose, and the Buddha asked how the king would respond if he were to discover that Angulimala had given up the life of a highwayman and become a monk. The king said that he would salute him and offer to provide for him in his monastic vocation.