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Originally a public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
Combat stress reaction (CSR) is a term used within the military to describe acute behavioral disorganization seen by medical personnel as a direct result of the trauma of war. Also known as “combat fatigue” or “battle neurosis”, it has some overlap with the diagnosis of acute stress reaction used in civilian psychiatry. It is historically linked to shell shock and can sometimes precurse post-traumatic stress disorder.
Combat stress reaction is an acute reaction that includes a range of behaviors resulting from the stress of battle that decrease the combatant’s fighting efficiency. The most common symptoms are fatigue, slower reaction times, indecision, disconnection from one’s surroundings, and the inability to prioritize. Combat stress reaction is generally short-term and should not be confused with acute stress disorder, post-traumatic stress disorder, or other long-term disorders attributable to combat stress, although any of these may commence as a combat stress reaction. The US Army uses the term/acronym COSR (Combat Stress Reaction) in official medical reports. This term can be applied to any stress reaction in the military unit environment. Many reactions look like symptoms of mental illness (such as panic, extreme anxiety, depression, and hallucinations), but they are only transient reactions to the traumatic stress of combat and the cumulative stresses of military operations.
In World War I, shell shock was considered a psychiatric illness resulting from injury to the nerves during combat. The horrors of trench warfare meant that about 10% of the fighting soldiers were killed (compared to 4.5% during World War II) and the total proportion of troops who became casualties (killed or wounded) was 56%. Whether a shell-shock sufferer was considered “wounded” or “sick” depended on the circumstances. When faced with the phenomenon of a minority of soldiers mentally breaking down, there was an expectation that the root of this problem lay in character of the individual soldier, not because of what they experienced on the front lines during the war. These sorts of attitudes helped fuel the main argument that was accepted after the war and going forward that there was a social root to shell shock that consisted of soldiers finding the only way allowed by the military to show weakness and get out of the front, claiming that their mental anguish constituted a legitimate medical diagnosis as a disease. The large proportion of World War I veterans in the European population meant that the symptoms were common to the culture…
Eugene Curran Kelly (August 23, 1912 – February 2, 1996) was an American actor, dancer, singer, filmmaker, comedian and choreographer. He was known for his energetic and athletic dancing style, his good looks, and the likable characters that he played on screen. He starred in, choreographed, or co-directed some of the most well-regarded musical films of the 1940s and 1950s, until they fell out of fashion in the late 1950s.
Kelly is best known today for his performances in films such as Anchors Aweigh (1945), On the Town (1949) which was his directorial debut, An American in Paris (1951), Singin’ in the Rain (1952), Brigadoon (1954) and It’s Always Fair Weather (1955). Kelly made his film debut with Judy Garland in For Me and My Gal (1942), and followed by Du Barry Was a Lady (1943), Thousands Cheer (1943), The Pirate (1948), Summer Stock (1950), and Les Girls (1957) among others. After musical he starred in two films outside the musical genre: Inherit the Wind (1960) and What a Way to Go! (1964). In 1967, he appeared in French director Jacques Demy’s musical comedy The Young Girls of Rochefort opposite Catherine Deneuve. Kelly directed films without a collaborator including, the comedy A Guide for the Married Man (1967) starring Walter Matthau, and the musical Hello, Dolly! (1969) starring Barbra Streisand the later of which was nominated for the Academy Award for Best Picture. Kelly co-hosted and appeared in Ziegfeld Follies (1946), That’s Entertainment! (1974), That’s Entertainment, Part II (1976), That’s Dancing! (1985), and That’s Entertainment, Part III (1994)…