Week 4: Jacqueline Chavez Discussion Post

1. In the reading, “Absent Images of Memory: Remembering and Reenacting the Japanese Internment,” by Marita Sturken, the text promotes the notion of encouraging readers to actively address the challenges associated with recognizing the internment camps and their impact on national memory and identity. This study examines the relationship between memory and history, recognizing that personal memories can be incorporated into historical accounts and that historical narratives can influence and reshape personal memories. Rea Tajiri examines camera images and their significance within the realm where personal, cultural, and historical memory intersect in her work. The examination of the complex and ever-changing relationship between camera images and the formation of memory, both on an individual and societal level, proved to be an intriguing piece of writing. This topic is especially relevant in the current era, in which film is a prominent medium for depicting and interpreting historical events. This observation leads to the realization that there is a paradox, in that cameras can actively contribute to the formation and erasure of memories. This is exemplified when Tajiri embarks on a quest to uncover her family's historical background and discovers that the information she has received thus far is insufficient and lacking key details. This particular instance challenges the notion that memory diminishes over time as individuals pass away, suggesting instead that it manifests as a distinct variant of embodied memory. In addition, it can be classified as a cultural memory because the individual uses novel imagery to fill in gaps in their recollection using family background. Within the context of historical trauma and intergenerational transmission, the author's reinterpretation and intervention serve to highlight the intricate and dynamic characteristics of memory. However, my inquiry pertains to the required memory representation and its capacity to convey the significance and impact of historical events accurately. In modern times, Hollywood war films are characterized by their distinct emphasis on realism. What types of cultural, historical, or personal memory are implicated in the endeavor of not only recounting history but frequently advocating for its dissemination? And as we disseminate history through a collection of distant memories, is it possible to argue that this is a dismissive or a required attitude?

2. In Ronald Bishop's article titled "To Protect and Serve: The "Guard Dog" Function of Journalism in Coverage of the Japanese-American Internment," the author examines the distinct roles assumed by print journalists during this period of history. Initially, they fulfilled the "watchdog" role by advocating for tolerance towards Japanese-Americans. However, their role later shifted to that of a "guard dog," wherein they functioned as the government's sentinels, actively monitoring and suppressing any narratives that posed a threat to the official stance. Moreover, the article delves into the instances provided by the “New York Times” and elucidates the distinctions between the guard dog and watchdog prompts. Following the reading of these newspapers, individuals promptly encountered inaccurate and inciting accounts of these declared activities. Can it be argued that journalism no longer holds dominant power positions, as individuals are now accessing information online rather than relying solely on journalists? And if this idea holds true, how does it intersect with the traditional concept of a watchdog or guard dog if the readers are now the editors?