Homeland, woman, home
|SHORT DEFINITION||These pathos scenes focus on leaving the social foundation of military order; they therefore also always stage modes of memory and references to something that is remembered.|
|CONSTELLATIONS||In general, two variations of the return to civilian life can be identified within this type of pathos scene, each with a specific reference to memory.
The first variation is the temporary withdrawal from the military order within a military sociality still in a state of emergency. In this variation, the presence of absent characteristics, moments, and characters from pre-war, daily life is key to the mode of memory. These entities become agents of a moment of temporary return to civilian life in the mode of memory. Often it is media-related reminders of civilian society within the film—for example photographs or music on the radio—that stage memories of home in the middle of military order.
The second variation portrays the completed withdrawal from military order—the return to civilian sociality. In this variation, it is predominantly the military sociality in states of emergency that is remembered.
|AFFECTIVE DIMENSION||The second variation is characterized by the exhaustion caused by afflictive experiences as related to memories of war|
Band of Brothers - Episode 1: Currahee
- Break and memories of home
- Conversation about home
- Third victim - 1000:1 shot
- Miracle water for weapons
Sands of Iwo Jima*
- Tent conversations
- The ball
- On the couch
- The Wedding
- The bride's letter
- Stryker and the single mother
- The landing - Iwo Jima
- Died for flag and country