Artists in Times of War

Study Guide

Artists in Times of War

1. Look up the definition of the word transcendent in your dictionary and write it down. Given the definition you’ve found, how do you see artists as being able to be transcendent?

2. Has there ever been a work of art that caused you to transcend your immediate circumstances? What was the artwork (visual art, music, theater, dance…) and why do you believe it had the effect on you that it did?

3. On page 8, Zinn raises the issue of artists as citizens. Do you think art should necessarily have a social or political component to be meaningful? Or is art for beauty’s sake the ultimate goal? Why?

4. Do you think artists are particularly well-suited to go beyond what we are told by the government and the media? How is being an artist different than other professions in this respect? Why or why not?

5. Zinn quotes Mark Twain and Emma Goldman as making a distinction between country and government in defining patriotism. What is the difference between country and government? How do you feel about each, as you define them?

6. How is the act of criticizing the government patriotic?

7. Zinn quotes Picasso as saying, “Art is a lie that makes us realize truth.”(26) What does that mean?

8. How does Zinn explain the paradox of the strong countries being weak and the weak countries strong?

9. Do you agree with Zinn’s redefinition of terrorism? (32) Are violent responses to violence sometimes justified? If so, when? Any examples you know of where violence has been an effective response? If not, why not?

10. Zinn gives examples of writers, musicians and artists who spoke out against war in their time. Yet, are they really doing anything to change the way things are? What impact should artists realistically strive for?

Emma Goldman, Anarchism and War Resistance

1. How can history illuminate issues in the present?

2. The anarchist group to which Emma Goldman belonged decided to kill Henry Clay Frick in order to “…show that the perpetrators of violence can also be the victims of violence.” (46) Is the killing of an individual ever justified? If so, when? Why or why not?

3. Emma Goldman advocated direct action in response to injustice, versus negotiating the system through petitions, lobbying, and legislative action. Do you agree with direct action as a solution? In what cases?

4. What are the similarities between the treatment of immigrants after WW I and after 9.11.01? Were you aware that Acts similar to the PATRIOT ACT were passed during previous wars?

5. How is the War on Terrorism different than all previous wars launched by the US?

6. How many people do you think have died in the current conflict in Iraq? Now, on the internet look up the combatant deaths, non-combatant deaths, and civilian casualties? Does the actual number surprise you?

7. What e ffect does the press only reporting on “combatant deaths” or “non-combatant” deaths have on people’s feelings about the war? Do you think public opinion would change if the true numbers were known?

8. How would you describe Zinn’s tone or voice in the book so far? Why do you think he would choose to write in this style? In your answer, consider the fact that these were initially delivered as speeches.

Stories Hollywood Never Tells

1. How are money and profit related to both war and to the stories Hollywood tells? (65)

2. When do movies that try to change people’s opinions about issues cross the line into propaganda? Include your working definition of propaganda in your answer.

3. What are some of the complexities that Zinn describes as being inherent in the Revolutionary War? Parallel them with issues facing the country today in the Iraq War.

4. Who would you like to see portrayed in a film about war who could “…create a new population of people who will simply say “no” to war.” (77-8) Can film even have this impact? Does the glorification of war in movies have the opposite effect?

5. Should the Declaration of independence have included a clause about economic rights? How could economic rights be guaranteed in a free market, capitalist economy?

6. What qualities make a movie interesting enough for you to want tom watch it? Do you think any of the movies that Zinn suggests be made would draw your interest?

7. How could the stories Zinn suggests be made within the current Hollywood model?

8. Why is perspective important in movies? How do shifts in perspective change the meaning of films? (88)