Attachment_B_AV_Media_Treatments.pdf

AV TREATMENT

National Museum of the Marine Corps 15 Aug 2016

Media Exhibit: AV‐505 ‐ TRANSFORMATION NARRATIVE Exhibit Gallery: 5 | Legacy Walk Exhibit Scene: 5‐2 | Transforming the Corps Media Complexity: Medium Low

CONTENT/NARRATIVE

Media Purpose:

▪ To explore the transition that the Marine Corps undertook after the challenges of the Vietnam era.

▪ To reinforce the theme that the Marine Corps is a constantly evolving, learning organization.

▪ To introduce visitors to the role the Marines played in the era after the Vietnam War.

Visitor Experience:

Located within a niche exhibit along the Legacy Walk, this piece tells the story of the Marine Corps’ reinvention after the end of the Vietnam War. In the late 1970s, after many years of an unpopular war, the military’s prestige was eroded in the mind of the nation and a push for cutbacks and streamlining followed. Meanwhile, internal evaluation led to initiatives within the Corps to improve the quality of recruits and to reform the NCO corps.

Topics to be covered in this brief, linear film include: the Corps’ reexamination of their essential purpose and the return to their expeditionary role; improved training methodologies; continued focus on race relations, and expanded recruiting efforts, including efforts to recruit female Marines.

Abstract: After a decade of war in Vietnam, the Marine Corps found itself in a tough position. General Wilson, Commandant of the Marine Corps, was required to train and equip a force that must be ready to deploy anywhere, at any time. After ten years of war, equipment systems needed replacement and funds became increasingly scarce as the military downsized. Anti-war sentiment grew. The draft was replaced with an all volunteer force, and recruiters were banned from many campuses across the country. Social issues like racial tension and drug use spanned the country, and caused problems within the services. General Wilson’s chances for success looked dim, and the post-war drawdown only added to his challenges.

Faced with an extraordinary mission and hobbled by resource constraints, General Wilson could have opted to serve his time and retire. Instead, he sparked a renaissance that prepared the Corps for a brave new world. He built a foundation upon which subsequent Commandants added. Generals Barrow, Kelley, Gray, and Krulak leveraged Commandant Wilson’s success to build a smart, nimble, and powerful modern Marine Corps.

The piece plays on a landscape‐oriented monitor embedded in the short wall of the niche, echoing the placement of a number of video screens along the Legacy Walk.

PERFORMANCE SPECS

Program Type: Linear video with audio plus separate silent attract loop. The attract loop features a

‘touch to play’ message and plays continuously until a visitor touches the screen. When the screen is touched, the main video begins and plays to the end. When the main video completes, the program reverts to the attract loop.

Length: Main video length will be 2 minutes or less. Attract loop will be approximately 15 seconds.

Software: None

Hardware: Display – 36” HD (1920x1080) monitor, with touch screen interface. TDB solid‐state video player.

National Museum of the Marine Corps October 28, 2015

Media Exhibit: AV‐506 ‐ DECISION FORCING CASES – Transforming the Corps (General Wilson) Exhibit Gallery: 5 | Legacy Walk Exhibit Scene: 5-2 | Transforming the Corps Media Complexity: Medium High

• To emphasize the importance of training methodologies to the success of the post-Vietnam

Marine Corps.

• To introduce visitors to one of those post-Vietnam-era methodologies: the Decision Forcing Case.

Visitor Experience:

One of a number of scenario‐based training methods, the Decision Forcing Case was adopted for use by the Marine Corps in order to train Marines to be prepared to make complex decisions effectively in the field. Throughout the galleries under development in this phase of work, visitors will find kiosks with interactive scenarios that they can engage with and learn from. By putting this introductory kiosk in the transition area into the “new” galleries, it is intended that visitors will begin to understand this training approach.

After an orientation to the context for this type of training, the piece will dive into “What is a DFC?” The narrative will explain how the instructor presents the context of a problem (the “back story”), places students in the role of a historical character faced with that problem, asks students to solve the problem, and, once the students have thoroughly discussed their solutions, describes how the historical character dealt with the problem.

The visitor will then be presented with a simple sample DFC and given the chance to choose a course of action based on the scenario presented.

Abstract: After a decade of war, Commandant Wilson faced a tough, Corps-wide situation. Struggling with racial issues, drug problems, and a worn-out inventory of equipment, he also had to prepare for the end of the draft.

- Pulled brightest NCOs and made them recruiters

- Toughened training and tightened standards, formal schools

- Renewed emphasis on forming additional Marine Amphibious Units (later renamed Marine Expeditionary Units)

- Forward deployed Marine Amphibious Units in the Atlantic and Pacific regions

- Improved doctrine, training, tactics, and procedures

- Modernized equipment and systems

PERFORMANCE SPECS

Program Type: Linear video with audio plus separate silent attract loop. The attract loop features a

‘touch to play’ message and plays continuously until a visitor touches the screen. When the screen is touched, the main video begins until the visitor is given a choice(s) to make. When the main video completes, the program reverts to the attract loop.

Length: Main video length will be 2 minutes or less. Attract loop will be approximately 15 seconds.

Software: None

Hardware: Display Video monitor, with touch screen interface.

National Museum of the Marine Corps 6 May 2016

Media Exhibit: AV‐507 ‐ MARINE SECURITY GUARDS Exhibit Gallery: 5 | Legacy Walk Exhibit Scene: 5‐3 | No Better Friend

▪ To examine an important role filled by modern Marines: Marine Security Guards.

Visitor Experience:

This short video explores the important role of Marine Security Guards. The first brief chapter of the piece introduces these “ambassadors” of United States interests who guard United States embassies around the world. Visitors learn that MSGs are usually the first American a visitor to one of our embassies will encounter. Focused on building security, they protect classified information, equipment, and personnel. This duty is definitely not without risk and the second chapter of the piece tells the story of a long list of embassy attacks in which Marine Corps personnel were engaged, fought, and in some cases, died. This chapter also tells the story of the Marine Security Guards who were among those taken by Iranian students who stormed the U.S. Embassy in Tehran, leading to the Iran Hostage Crisis. The piece will use first-hand accounts if they are available.

Abstract: Highlights Marines’ involvement in international diplomacy missions dating back to the late 1700s. Marines accompanied U.S. diplomats to France during the Revolutionary War as early as 1778. Presley O’Bannon was on a diplomatic mission in 1805 when he fought in Tripoli. The relationship between the Marines and the Dos deepened over time, and was codified when Marines assumed the mission of guarding classified material at Embassies around the world in 1948. The USMC and DoS signed a Memorandum of Understanding in 1949; 83 Marines graduated from the DoS Service Institute with a week of specialized training. The Marines formalized a four-week training program in 1954. Today the Corps trains 600 Marines a year in eight-week courses for service around the world as Marine Security Guards.

Marines in these diplomatic posts have endured over 200 attacks since 1949. Highlights include the hostage crisis in Iran in 1979, Beirut embassy bombing in 1983, bombings of Nairobi and Dar es Salaam 1998, Jeddah 2004, and the attack of Benghazi in 2012.

After Benghazi, Congress authorized a thousand additional Marines for the program.

Program Type: Linear video with audio. The video loops continuously with no user interaction.

Length: Main video length will be 2 minutes or less.

Hardware: Video monitor and speaker.

Media Exhibit: AV‐508 ‐ NON‐COMBAT MISSIONS Exhibit Gallery: 5 | Legacy Walk Exhibit Scene: 5-4 | No Better Friend

• To explore the non-combat roles and activities undertaken by modern Marines.

• To provide a counterpoint and complement to the heavily combat-focused Forward Deployed and Afghanistan and Iraq galleries.

Visitor Experience:

Entering the No Better Friend alcove off the Legacy Walk, visitors encounter a series of six cast figures that represent Marine Corps specialties that focus on missions other than direct combat, such as embassy duty, fire and rescue, humanitarian operations, etc.

Adjacent to the cast figures, embedded into the No Better Friend exhibit display, a brief video describes and explores these roles. After an introduction to the idea that Marines are both “No Better Friend” and

“No Worse Enemy,” the film follows with several short chapters depicting those “friendly” roles. The order of the chapters echoes the order of accompanying displays on the wall behind: Marine Security

Guards; Non‐Combatant Evacuation Operations; Humanitarian Assistance and Disaster Relief; Advise and Assist; and Defense Support to Civil Authorities. There’s sufficient information that this could be a visitor‐driven experience, potentially allowing them to dig deeper into each topical area. Consider mapping cast figure specialties to the video.

The main portion of the film is fast‐paced and dynamic, showing Marines both training and in the field performing these jobs.

PERFORMANCE SPECS

Program Type: Linear video with audio. The video loops continuously with no user interaction.

Length: Main video length will be 2 minutes or less.

Hardware: Video monitor and Speaker.

Media Exhibit: AV‐509 ‐ A GRATEFUL NATION Exhibit Gallery: 5 | Legacy Walk Exhibit Scene: 5‐5 | Never Forget

▪ To allow visitors to recognize and reflect on the true cost of war: the death of Marines. While many have risked all, some Marines have made the ultimate sacrifice in the service of their country – and in the service of their fellow Marines.

▪ To provide a reverential experience for visitors that is simple, straightforward, and obvious, one that is not overly burdened by detailed information.

Visitor Experience:

An introductory pylon, made of glass and stone reminiscent of the white marble of the gravestones at

Arlington cemetery, provides an elegant entrance to the space. The title is large and evocative: “On

Behalf of a Grateful Nation,” echoing the words said during the presentation of the flag to loved ones at a military funeral. Through the translucent glass, visitors can see a series of still and moving images constantly playing: a horse‐drawn caisson at Arlington, a carry team carefully removing a coffin from a plane at Dover Air Force Base, a group of WWII veterans honoring that return in the early morning hours. At this point, they may choose to acknowledge the topic and move on or they may choose to enter to experience the media piece.

Abstract: This AV media production is intended to be highly emotive, with no interpretation or educational elements. Somber sounds of taps, gun salutes, and the clatter of horse's hooves pulling caissons, reinforce still and motion imagery from national cemeteries and military funerals. Environmental sounds could include wind in the trees, birds, and insects. Imagery should highlight all four seasons, and include headstones of men, women, Marines and Corpsmen, officers and enlisted, as many different religions as possible, and spouses. Almost every headstone is marked with a variation of the cross, crescent, star of David, or other symbol. Extreme closeups of an honor guard, hands folding the flag, hands preparing and presenting the flag, presentation of posthumous Purple Heart, etc., could wrap around the visitor on the video walls. Some of the images should highlight the battlefield cross for Marines who died in the field.

The small space is acoustically treated to isolate the quiet sounds that accompany the images and inspirational quotes. Taps (or other music) may play quietly during some segments. Some facts and figures may be included— recognizing the magnitude of loss—but in general, the visitor is given space to reflect, gather their thoughts, and recognize that among all the battles, stories, and objects they have just encountered is the very real specter of death. The effect is moving, but not maudlin. The focus is on honor, not grief.

PERFORMANCE SPECS

Program Type: Linear video with audio. The loop plays continuously and seamlessly.

Length: Five minutes.

Hardware: Display: video wall or rear projection with maximum 4 channel audio.

National Museum of the Marine Corps October 28, 2015

Media Exhibit: AV‐510 ‐ MARINE FAMILIES ‐ TRAINING Exhibit Gallery: 5 | Legacy Walk Exhibit Scene: 5‐6 | Semper Families

▪ To build an appreciation for the important role of military families.

▪ To deepen visitors’ understanding of the sacrifices and contributions made by Marines and their families.

▪ To demonstrate to military family visitors that they are seen as a part of the story, too.

Visitor Experience:

Part of the “Deployment Cycle” this oral history focuses on the effect of training on the Marine family and features a series of short clips from interviews with a varied group of Marine family members.

Interviews will be recorded with a wide variety of family members (i.e. wives, husbands, children, parents and grandparents) from different time periods (i.e. WWII, Korean War, Vietnam and present day). The interviews will be done as to evoke a variety of stories with a variety of emotions. From these interviews short clips of no more than 30 seconds will be selected. These clips will be in an interactive list for selection by the visitor.

Non‐scripted. Ask a series of questions and edit the answers together in a meaningful and poignant manner. Questions to consider include:

a. How much time does your Marine spend with family during workup preparations?

b. What’s the hardest part of workups?

c. What’s your most memorable experience during workups?

d. What big life events have you missed while your Marine prepared for deployment?

e. How do you prepare your kids emotionally for the separation and understanding what the deployment is all about (MEU vice combat)?

Program Type: Complex interactive

Length: Ten clips each at approx. 30 seconds.

Software: Custom developed software

Hardware: Display: Video touch‐screen monitor in portrait orientation with one speaker

Media Exhibit: AV‐511 ‐ MARINE FAMILIES ‐ DEPLOYMENT Exhibit Gallery: 5 | Legacy Walk

▪ To build an appreciation for the important role of military families.

▪ To deepen visitors’ understanding of the sacrifices and contributions made by Marines and their families.

▪ To demonstrate to military family visitors that they are seen as a part of the story, too.

Visitor Experience:

Part of the “Deployment Cycle” this oral history focuses on the effect of deployments on the Marine family and features a series of short clips from interviews with a varied group of Marine family members. Interviews will be recorded with a wide variety of family members (i.e. wives, husbands, children, parents and grandparents) from different time periods (i.e. WWII, Korean War, Vietnam and present day). The interviews will be done as to evoke a variety of stories with a variety of emotions.

From these interviews short clips of no more than 30 seconds will be selected. These clips will be in an interactive list for selection by the visitor.

Non‐scripted. Ask a series of questions and edit the answers together in a meaningful and poignant manner. Questions to consider include:

a. What’s the hardest part of being separated during deployment?

b. What’s the most memorable experience during a deployment?

c. How many deployments have you endured together?

d. How many big life events have you missed while your Marine was deployed?

e. How does the caregiver manage the children’s emotional stress during the deployment (MEU vice combat)?

Program Type: Complex interactive

Length: Ten clips each at approx. 30 seconds.

Media Exhibit: AV‐512 ‐ MARINE FAMILIES ‐ READJUSTMENT Exhibit Gallery: 5 | Legacy Walk

▪ To build an appreciation for the important role of military families.

▪ To deepen visitors’ understanding of the sacrifices and contributions made by Marines and their families.

▪ To demonstrate to military family visitors that they are seen as a part of the story, too.

Visitor Experience:

Part of the “Deployment Cycle” this oral history focuses on the effect of the return from deployment on the Marine family and features a series of short clips from interviews with a varied group of Marine family members. Interviews will be recorded with a wide variety of family members (i.e. wives, husbands, children, parents and grandparents) from different time periods (i.e. WWII, Korean War, Vietnam and present day). The interviews will be done as to evoke a variety of stories with a variety of emotions. From these interviews short clips of no more than 30 seconds will be selected. These clips will be in an interactive list for selection by the visitor.

Non‐scripted. Ask a series of questions and edit the answers together in a meaningful and poignant manner. Questions to consider include:

a. What’s your most memorable reunion?

b. What’s your hardest reunion memory?

c. What have you learned about learning to live together after each subsequent reunion?

d. How do your reconnect emotionally as a family after the deployment (MEU vice combat)?

(Mom, dad, brother, sister, plus wife, kids, husband, grandparents, etc.)

Program Type: Complex interactive

Length: Ten clips each at approx. 30 seconds.

Media Exhibit: AV‐1301 ‐ Advance Organizer Exhibit Gallery: 13‐0 | Forward Deployed Exhibit Scene: 13‐1 | Advance Organizer

▪ To introduce visitors to the role the Marines played in the post‐Vietnam era.

▪ To provide visitors with contextual information about the Cold War, from its historic roots to its waning years.

▪ As an Advance Organizer for the gallery, to provide an overview of Marines in action 1976–2001.

Visitor Experience:

Walking into the Advance Organizer, visitors find themselves standing on a giant chessboard, with man‐ sized pieces. The large, sculpted pieces represent the two great powers in the Cold War: the United

States and the Soviet Union. The metaphor is clear: two large powers face each other at a standoff.

The curved back wall of the space is inscribed with a world map and serves as a projection surface.

Projections include three zones within the larger projection reminiscent of 1980s‐era television programs. The larger projection features a changing background of world events. Newscasters speak about late Cold War tensions: the Olympic Boycott, tense “shouldering” incidents involving opposing warships, the Iran‐Contra affair. Narrated footage of Marines fighting around the world is interspersed, giving a hint of the fast pace and diverse locations in which they would find themselves during this era.

Abstract: This two minute media production will appear on the front of a tall curved wall, themed to appear like a visual “iron curtain” and topped with barbed wire. The floor will be a chessboard, with two large chess pieces, one themed to represent the U.S.A., and the other to represent the U.S.S.R. After Vietnam, the United States spent the next couple of decades preparing to fight the Soviets in Europe. The Soviets, also known as the United Soviet Socialist Republic, or USSR, were the only other superpower in the world. The long-standing tension between America and the Soviets dated back to the aftermath of World War II, and was commonly known as the Cold War. After WWII, America’s allies in Europe had bonded together because of Soviet expansionism to form the North Atlantic Treaty Organization, NATO. Tasked with guarding NATO’s flanks against from Soviet aggression, the Marine Corps spent a lot of time training in Norway and the Mediterranean region, the northern and southern flanks, respectively. Resource limitations required senior Marines to creatively rethink their approach to training, the fielding of new equipment and weapons systems, and pre-positioning forces and equipment for the best deterrent effect. Marines regularly embarked aboard Navy amphibious assault ships, and were positioned at sea to provide a military presence and a forward deployed crisis response capability.

The Cold War continued to influence military decisions until December 1991, when the USSR collapsed. The Soviets had presented a primary, almost singular threat to democracy. After the communist USSR fell, America found itself fighting dozens of other smaller “dragons” around the globe. Many of these challenges were man-made, including friction that centered on America’s strategic access to oil. Iraq, a USSR puppet state, controlled vast quantities of oil and fought an eight-year war with their neighbor, Iran. The Soviets also backed and resourced groups such as the Palestine Liberation Organization, or PLO. The PLO partnered with other extremists to bomb peacekeepers in Beirut, killing over 241 American, British, and French service members. This friction between ideologies helped give birth to radical extremists, who continue to terrorize the world on an expanding scale. Other challenges included natural disasters. This growing range of missions, forged a creative Corps, capable of scaling its force to the size needed to address the threat, and responding to any global challenge within hours.

Meanwhile, the Corps looked to professionalize its ranks. Commandant Gray introduced the concept of maneuver warfare, which required decentralized command and control, and relied upon Marines to be able to think and act independently as conditions changed. He also established the Marine Corps University here at Quantico.

The Marines adopted Air Force Colonel John Boyd’s “OODA Loop” concept, which required leaders to observe, orient, decide, and act quicker than their enemies.

Getting inside a foe’s OODA loop helped to hasten victory. Commandant Krulak introduced the concept of a “Three-Block War,” which helped to prepare Marines for expanding numbers and types of missions, particularly in urban areas. Krulak’s “Three- Block War” required commanders to be prepared for full combat, low intensity conflict, and humanitarian operations, all within the same area and time.

It’s said that amateurs focus on tactics, while professionals focus on logistics. During this period, the Navy and Marines developed and implemented the Maritime Prepositioning Force, or MPF. The MPF consisted of large cargo ships that were loaded with equipment that could sail directly to a region where the Marines would offload the gear and charge into battle. This concept was repeatedly proven in combat during

Operations Desert Shield and Desert Storm, and in response to a humanitarian crisis in Somalia.

The challenges experienced and overcome by Marines who were forward deployed from 1976 to 2001 were critical to preparing the Corps for future operations.

Commercial video clips to consider including in this production:

President Reagan famously urged, “Mr. Gorbachev, tear down this wall!”

Ayatollah Khomeini in the news, and the return of 44 hostages from Iran.

Marines and soldiers invading Panama to overthrow Noriega and restore a democratically elected government.

USMC recruiting commercial featuring the chess match

CNN’s Bernard Shaw filming from a hotel in Baghdad at the beginning of Desert Storm

Night vision footage

Gunship footage

Scud footage

Kuwaitis cheering in the streets of Kuwait City

CNN footage of American Marines wading ashore in Mogadishu, Somalia

Somalis cheering for and raging against Americans in Somalia

Marines fighting wildfires

Beirut Marines helping with typhoon relief

PERFORMANCE SPECS

Program Type: Linear video with audio, looped.

Length: Main video length will be 2 minutes or less.

Hardware: Video Projector(s) final determination will be driven by media. Single audio track.

Media Exhibit: AV‐1302 ‐ EPILOGUE

Exhibit Gallery: 13‐0 | Forward Deployed Exhibit Scene: 13‐1 | Advance Organizer

● To wrap up visitors’ experience of the gallery, by recapping the significance of this era for the Marines and hinting at the world‐changing events of 11 September 2001; the stage is now set for terrorism.

Visitor Experience:

Visitors return through the entry area as they exit the gallery. This media display on the exit side of the wall caps the gallery story with a return to the use of news footage, now nearly contemporary in nature, but more fragmented in presentation, reflecting the evolution from the big three news networks to 24‐ hour cable news and online sources of information. The display might include a central screen with smaller satellite screens around it, depicting the factors that contributed to the rise of terrorism.

PERFORMANCE SPECS

Program Type: Linear video with audio.

Length: 2 minutes

Software: None

Hardware: 5 video monitors, exact number to be determined during pre‐production with single track audio

Media Exhibit: AV‐1304 ‐ GULF WAR STORIES & ENVIRONMENT

Exhibit Gallery: 13 | Forward Deployed Exhibit Scene: 13-3 | Desert Shield

• To enhance and enliven the scenic environments representing the Gulf War.

• To provide specific story information related to Operations Desert Shield and Desert Storm, allowing visitors to choose from a range of topics that may interest them.

Visitor Experience:

This piece is played via user selection on a free standing kiosk. If left untouched, the list of media pieces plays in the order as seen on the kiosk’s monitor. The visitor can drag items on list at will to move their selection higher in the queue. After the chosen selection has completed the list reverts to the original order and playback of the list continues. The main presentation is displayed on a large screen located between two adjacent scenes – to the left, an M198 Howitzer anchors the story of Operation Desert

Shield and the lead‐up to the ground war; to the right, an M60A1 tank, depicts the dramatic moment of breaching the berms on the Kuwaiti‐Saudi border, signaling the beginning of the ground combat phase of Operation Desert Storm. On the desert mural behind the exhibit, edge blended projectors allow for

“environment” media to be simultaneously projected onto 45 linear feet of the mural, providing a layered atmospheric effect while viewing these brief videos. For instance, when the viewer selects

“engineers” the wall projection could include tanks with mine plows, line charge explosions, etc. This support material can be additional video, animated maps and/or explosions. This environment media will be driven by the content in the main media piece and used sparingly so as not to detract from the main story.

The media pieces are number as sub components to the overall media title and are paired with their corresponding “environment” media. All pieces to be maximum two minutes. The media selections and associated identifying nomenclature is as follows:

AV‐1304.1A Saddam Hussein. Iraq was tightly ruled by Saddam Hussein. Saddam ruled with an iron fist, unifying disparate tribes through sheer force. His Baathist Party helped to subdue Iraq’s Shias and Kurds, and keep the minority Sunnis in power for over two decades. He was not averse to killing or attacking his own people when he felt so compelled. For instance, he gassed the Kurds in northern Iraq. His penchant for violence was not restricted towards internal targets, he also warred with his neighbors. Over eight years, Iraq fought a fierce war with neighboring Iran. During this time, the Soviets backed Hussein, providing weapons and armament to their puppet state. Iraq’s army grew to become one of the largest in the world.

They also drained their own treasury fighting the Iranians. After the Iraq‐Iran war ended, Saddam Hussein needed cash. The quickest way to get that resource was through the sale of more oil, which meant that he had to invade his smaller neighbor, Kuwait, since his own oil production fields had been heavily damaged during the war with Iran. Annexing Kuwait would give Saddam Hussein much greater access to shipping ports, not to mention Kuwait’s own rich oil fields. Despite repeated warnings from the United Nations and the global community, Saddam invaded Kuwait on 2 August 1990. Within days the United Nation had formally denounced Iraq’s wrongful invasion of Kuwait, and American President Bush soon began assembling a coalition of over 30 countries to remove Saddam’s forces from Kuwait using military power. Saddam failed to heed warnings from the UN and the American President; he felt that his large standing Army, armed with advanced Soviet T‐72 and T‐80 tanks, would deter the risk‐averse Western countries. Saddam’s Republican Guard had proven to be fierce warriors, which bolstered his determination to keep Kuwait under Iraqi control. He spent months building complex defensive barriers along the border between Kuwait and Saudi Arabia, and preparing for an amphibious assault along Kuwait’s coastline. He warned the Western “crusaders” that should they attempt to throw him out of Kuwait, this would be the “mother of all wars.” Although Saddam’s predictions for an apocalyptic event proved to be faulty, the first Gulf War was quickly and decisively brought to an end, though not with the outcome that Saddam expected. , Saddam Hussein continued his belligerence for over a dozen years before he was captured by American forces. Saddam Hussein was tried, convicted, and executed by his Iraqi countrymen on 30 December 2006 for crimes against humanity.

AV‐1304.1B Saddam Hussein Environment. Visuals TBD during pre‐production

AV‐1304.2A Preparing for War. The United Nations denounced Saddam Hussein’s invasion of

Kuwait on 2 August 1990. The global community, including many of Iraq’s neighboring countries, called for Saddam Hussein’s withdrawal or removal from Kuwait. A coalition of over

30 countries, led by the United States, massed their forces in the Persian Gulf and aboard bases in the Royal Kingdom of Saudi Arabia. Army General “Stormin’ Norman” Schwarzkopf led the coalition, including the Marine Corps’ I Marine Expeditionary Force, or IMEF. IMEF flew into

Saudi Arabia, and the Navy sailed two Marine Expeditionary Brigades into the Persian Gulf, off the coast of Kuwait. IMEF, led by Marine Lieutenant General Walt Boomer, tested the Maritime

Prepositioning Force, which had been created only 10 years before. The bulk of Marine equipment used in the first Gulf War was delivered via MPF ships. Marines rolled their tanks and trucks off the ships at the port of Al Jubayal, and drove them northward toward their assembly areas south of the Saudi Arabia‐Kuwait border. The combination of rapidly delivered

Marine ground forces, aviation, and combat forces afloat was critical to buying time for the

Coalition to build up its heavy mechanized and armor force.

AV‐1304.2B Preparing for War Environment. Visuals TBD during pre‐production

AV‐1304.3A Air War. The airspace in front of us was filled with an incredible barrage of SAMs

[surface‐to‐air missiles] and AAA [anti‐aircraft artillery]. It was much more intense than anything I thought the Iraqis could manage. I wondered what we were going to do, since we obviously weren’t going to fly into that mess. But we did.”

‐ Captain Jay A. Stout, USMC (F/A‐18A pilot, Marine Fighter Attack Squadron‐451)

As Iraq failed to comply with the UN mandate to leave Kuwait, allied forces began a sustained air campaign in the early hours of 17 Jan 1991 to destroy the Iraqi army in place in preparation for a ground invasion. During the first weeks of the air campaign, Marine aircraft, which made up roughly ¼ of the total allied aircraft force, struck targets inside Kuwait and Iraq assigned by the Air Force, but by 30 Jan the bulk of Marine air power was “preparing the battlefield” in front of the Marines of the 1st MEF. Marine aircraft assigned to patrol “kill boxes” inside Kuwait destroyed thousands of enemy artillery pieces, vehicles, and ground emplacements.

The full might of Marine air power directly supported Marine ground forces during the ground war. Marine transport helicopters moved thousands of men and millions of pounds of material while helicopter gunships provided outstanding close‐air‐support, breaking up multiple enemy counter attacks. Marine aircraft from 40 squadrons flew more than 18,000 sorties during Operation Desert Storm – half of which were flown during the 100 hours of ground combat – delivering 29.7 million pounds of ordnance. Eight Marine airmen were killed and five captured as POWs. 14 Marine aircraft were lost to enemy fire and operational accidents.

AV‐1304.3B Air War Environment. Visuals TBD during pre‐production

AV‐1304.4A Amphibious and Naval Operations. Saddam Hussein’s forces were certain that they would face the United States Marine Corps, and they prepared accordingly. Fifth Marine Expeditionary Brigade conducted amphibious landing training exercises and maintained a presence off the coast of Kuwait. Iraqi forces could see several Amphibious Readiness Groups steaming along the horizon from their positions along the coast in Kuwait City. The Iraqis prepared coastal defenses, erected barriers and beach obstacles, emplaced antiaircraft guns and mines, and made ready to defeat an amphibious assault. Naval task forces patrolled near the shoreline, too. Once the war began, the USS Missouri (BB‐63) fired her 16” main guns onto Iraqi positions, Naval aviators dropped ordnance on shore batteries, both of which foreshadowed America’s intent to land Marines on the Kuwaiti beaches. The amphibious feint successfully drew a number of Iraqi divisions away from the main attack further inland, reducing the number of Iraqis that I MEF had to fight on the way to Kuwait City. Ashore, deception operations with Task Force Troy helped to further confuse Saddam’s forces.

Engineers made sure that the Iraqis could observe assault lanes being developed, which were never intended for use and but created solely for supporting the deception plan. Some Marine forces afloat conducted amphibious operations at the end of the war, clearing barrier islands like Faylaka Island.

AV‐1304.4B Amphibious and Naval Operations Environment. Visuals TBD during pre‐ production

AV‐1304.5A Engineers. Saddam’s forces had four months to prepare a Soviet‐style defense in depth along Kuwait’s southern border with Saudi Arabia. Iraqis built two belts of obstacles, including minefields with 3.5 million mines, ditches filled with oil, and belts of barbed wire.

They pre‐registered their artillery in preparation for the coalition attack, hoping to trap coalition forces in their minefields and obstacle belts and decisively destroy them with tanks, artillery, and airpower. However, the US‐led coalition seized air superiority early on, so Iraqi divisions, shorn of their air cover, were forced to prepare for a war of attrition, still hoping fora decisive victory. Marine, Navy Construction Battalion, and Army Tiger Brigade Engineers improved coalition positions, built air strips, and provided essential resources such as water and power. Reconnaissance Marines and combat engineers probed the border, looking for gaps which the assault force could use to penetrate Iraqi defenses. . All of these efforts helped to prepare the battlefield and influenced the final version of the IMEF battle plan. As D‐Day approached, combat engineers worked to install mine plows on tanks and amphibious assault vehicles. They loaded Mine Clearing Line Charges (MCLCs) into trailers and amphibious assault vehicles. When ordered to finally cross the line of departure and begin the attack, combat engineers shot MCLCs across the initial minefields, expecting that the 300’ long strings of C4 explosives would detonate any mines and clear a path for the assault forces. MCLCs were relatively new and untested and some of them failed to detonate. This forced combat engineers to run through live minefields to detonate 1,700 pounds of C4 by hand, some while under accurate enemy fire. Had it not been for the inventiveness and courage of its combat engineers, the IMEF assault would have stalled and the Marines would have likely suffered much greater combat casualties.

AV‐1304.5B Engineers Environment. Visuals TBD during pre‐production

AV‐1304.6A The Ground War. During Desert Shield, the U.S.‐led coalition forces defended

Saudi Arabia from any further Iraqi attacks, and built up the largest American combat force since Vietnam. The US Army prepared to carry out the main attack, with two corps (XVIII

Airborne Corps and VII Corps) armed with America’s most advanced main battle tank, the

M1A1, and partnered with the British and French armored units. The Marine Corps deployed I

Marine Expeditionary Force, which included both 1st and 2d Marine Divisions, armed with Cold

War‐era M60 tanks. Marines on the Central Command staff, led by US Army General

Schwarzkopf, assisted with planning and tasking. Marines were tasked with protecting the

Army’s right flank, and was charged with liberating Kuwait City along with our Arab partners, including Kuwaitis, Qataris, and Saudis. Marines helped to defeat Iraq’s only attack into Saudi

Arabia, in the small seacoast town of Al Khafji. The Marines benefited from the Maritime

Prepositioning Force program, which allowed them to roll a complete set of brigade equipment off the ship and into battle. The Army and its two corps with seven divisions had much more to move, so it took a couple of months longer to ship all of their men and equipment from

Germany and the U.S. before they were ready to attack. The generals commanding IMEF and both Marine divisions were all highly decorated veterans of Vietnam; their hard‐earned lessons from that war paid huge dividends in what would become known as the “Hundred Hour War.”

Facing the fourth largest army in the world, filled with battle‐hardened veterans of the 8‐year long Iraq‐Iran War, coalition forces soundly defeated over 30 Iraqi divisions in little more than four days. Many senior coalition leaders were prepared to continue the fight into Iraq until

President Bush declared victory on 28 February 1991.

AV‐1304.6B The Ground War Environment. Visuals TBD during pre‐production

AV‐1304.7A 24 Hour Media and the Home Front. The Gulf War was America’s first “CNN war,” characterized by a 24‐hour live news cycle. Media representatives from around the globe converged on Saudi Arabia, where Central Command determined to put them in “pools” that would go forward and document defensive preparations and eventually ground and air combat.

These media pools pumped still photos, text, and video back to their news agencies, which helped to fuel the 24‐hour news cycle. Cable news networks waged their own “air” war to establish dominance within the news industry, a fight that CNN arguably won. Public Affairs

Marines helped to move members of the media around the theater of operations and they helped restrict the media’s access in the name of operational security. Vietnam had been on television just 15 years earlier, but generally it was telecast on the evening news for a limited duration. However, from August 1990 through March 1991, Americans were inundated with up‐to‐the‐minute reports, and the emergence of a new “ticker tape” (called a chyron) that scrolled across the bottom of the television screen, layering on more information. To some degree this live coverage helped to fuel a resurgence of patriotism, signified by thousands of yellow ribbons that began to appear across the country. Families flocked around their televisions, watching American service members preparing for a war in the middle of a far‐away desert. After the war, the Nation welcomed her warriors home with multiple victory parades, which were also widely reported on. Based on lessons learned from the Gulf War, Generals who would lead the fights in Iraq and Afghanistan a decade later decided to embed the media in their own units, providing even greater access and protection for the reporters.

AV‐1304.7B 24 Hour Media and the Home Front Environment. Visuals TBD during pre‐ production

Program Type: Menu‐driven selection, seven possible programs

Length: Two minutes maximum for each selection

Software:

Hardware: 3 video projectors. 103” video monitor, 3 channel audio

Media Exhibit: AV‐1401 – Advance Organizer Exhibit Gallery: 14 | Afghanistan & Iraq Exhibit Scene: 14-1 | Advance Organizer: COC Media Complexity: High

▪ As an advance organizer for the gallery, to introduce visitors to the role the Marines played in the contemporary era.

▪ To provide visitors with contextual information about the fighting of wars on two fronts: Iraq and

Afghanistan.

▪ To bring to life the dynamism of a Combat Operations Center (COC) and help visitors understand the function of these hubs in synthesizing a number of complex information streams.

Visitor Experience:

Upon entering the Advance Organizer: COC scene, visitors find themselves in a replicated Combat

Operations Center (COC), which serves as the Advance Organizer for the OIF/OEF gallery. With a vibrant, “you‐are‐there” feeling, the space represents the interior of a large shelter with canvas sides and roof. A command table with folding chairs is set up at the front of the space, which feels temporary, but is intentionally laid out. The walls are lined with acetate‐overlaid maps and charts that represent the different streams of intelligence that feed a COC. Computers and radio handsets sit on the tabletop.

The far end of the COC is a projection area that shows how a COC functions as though the visitor is watching a COC during operations. After a brief exposition, it transforms into two large screens behind the table representing the two major conflicts of this era: on the left, Operation Enduring Freedom (OEF) and, on the right, Operation Iraqi Freedom (OIF). The two screens feature programming that at times synchronizes and at times operates independently, describing the many streams of information that come in (chat, reports, potential threats, etc.) and must be filtered, organized, and responded to by the staff of the COC. This is where the “sensing organs” of the Marines come together, into a “decision‐ making brain.” Visitors see the ebb and flow of information and understand immediately the challenge of fighting two wars simultaneously and the difficulties posed by the changing conditions on the ground in each theater of war. Audio captures the normal chatter of the command center with the abbreviations and jargon that are unintelligible to visitors, but second nature to Marines on the ground, periodically “decoded” through text overlays. In this area, visitors will also gain a basic understanding of the changes in the way today’s Marine Corps is organized (MAGTF ops, MPF ops), the strategies they use on the ground (“Clear‐Hold‐Build”), and the threats they face (IEDs, etc.). Visitors leave with a visceral sense and increased appreciation of what Marines are experiencing on deployments today.

Abstract: This AV media production needs to synthesize fifteen years of history in two minutes or less. The space is designed to be a generic battalion level combat operations center inside a hard floored tent. The media will be rear projected in a way that makes the tent appear to recede into virtual space. A Caucasian operations officer in desert MARPAT cammies will brief the audience about the emergence of Al Qaeda, and the impact and aftermath of the terror attacks on 9/11. He’ll specify why Marines were dispatched to Afghanistan and speak in general terms of their long term presence there. An African American intelligence chief will quickly brief about President Bush’s push to invade Iraq and oust Saddam Hussein, arguably in hopes of preventing the spread of weapons of mass destruction. She should speak to the quick shift from conventional warfare to a counterinsurgency. Underscoring lessons learned from the Banana Wars and Vietnam that helped to prepare the Marines to fight a counterinsurgency, she should state the the Counterinsurgency Manual was rewritten and updated in an effort that was led by Army General David Petraeus and Marine General Jim Mattis. The closing statement should speak to the spread of terrorism, put broadly enough so that it covers Al Qaeda, ISIS, and whatever comes next.

Commercial footage to consider:

Aircraft hitting the World Trade Center, Pentagon, and field in Pennsylvania.

Footage with Osama Bin Laden

Shock and awe footage from the initial air attack on Baghdad

Gun ship footage

PERFORMANCE SPECS

Program Type: Linear video looping.

Length: 2 minutes

Hardware: Video – Rear projection or video wall with 2 track audio.

Media Exhibit: AV‐1412 ‐ FARP ENVIRONMENT

Exhibit Gallery: 14 | Afghanistan & Iraq Exhibit Scene: 14-7 | March to Baghdad

▪ To bring to life and to provide further context to the FARP tableau.

Visitor Experience:

The centerpiece of the March to Baghdad area is a tableau illustrating a Forward Arming and Refueling

Point (FARP), an austere forward area set up to rapidly re‐arm and re‐fuel helicopters. The action of this scene depicts the manual reloading of rocket pods and machine gun ammunition by the Huey’s helicopter crew and ground support Marines from a Marine Wing Support Squadron. Accompanying the full‐scale scene is a scale model that shows the entire logistical effort and puts the FARP in context.

Wrapping around the key logistical story of the FARP are a series of cases, including graphics and personal artifacts, that illustrate the sequence followed by the Marine Corps on the March to Baghdad in 2003.

The media associated with this scene serves to enhance the tableau display of a FARP outside Nasiriyah, Iraq, through video projection and carefully crafted audio. Three projectors with overlapping throws provide moving imagery on the wall behind the Huey, supporting and enlivening the scene which features the macro artifact as well as cast figures shown refueling and loading the helicopter with supplies. The moving imagery supports the idea that this is a fast‐paced, but highly tuned effort, not unlike that of a racing pit crew, where helicopters landed at the FARP, were rapidly serviced and loaded, went to fire their munitions, and returned to repeat the same sequence. Audio effects support the idea that these stops were so quick that pilots left the helicopter rotor turning while stopped briefly at this

“hot” FARP.

Abstract: This media piece will be projected on the wall behind the UH-1N Huey in the Camden Yard FARP scene. It will include AH-1W cobras cycling in and out of the FARP for fuel and ammunition. Nasiriyah will be visible in the near distance, with the visual effect of ordnance and tracers, and the audible effect slightly delayed due to distance. The helicopter in the scene is supposed to have its engines running, so the space will be filled with engine and rotor sounds.

PERFORMANCE SPECS

Program Type: Environmental projections and audio

Length: Two minutes

Software: None

Hardware: 3 Video Projectors, landscape orientation with 6 audio channels. Exact number of projectors and audio design to be determined in pre‐production.

Media Exhibit: AV‐1415 ‐ RIVER CAMPAIGN – PROLOGUE

Exhibit Gallery: 14 | Afghanistan & Iraq Exhibit Scene: 14-8 | River Campaign

Media Complexity: Medium High

CONTENT/NARRATIVE

Media Purpose: Explain the difference between conventional warfare and counterinsurgency

Visitor Experience: Two-minute narrated media, surrounded by graphics, map(s), and flat artifacts (flags, banners).

Abstract: Explain what an insurgency is, how the Marines countered that insurgency, and why we fought along the Euphrates River in Al Anbar, the only Sunni dominated province in Iraq. It is also critical to highlight the Al Anbar awakening, wherein local tribes and sheikh’s changed their allegiance from the insurgents to the coalition forces. Marines used the counterinsurgency technique of clear, hold, build, transition.

The fight occurred along the river because that’s where the people lived, and insurgents hid amongst the native population. Political control of Al Anbar was transferred back to Iraq during Sep 2008; military control was transferred to Iraq in June 2009. Marines were replaced by Army units in January 2010. The video must include animated maps that highlight major cities, where major battles took place, especially Fallujah, Ramadi, and Al Qaim. The River Campaign exhibit uses Fallujah to highlight clearing, Ramadi to illustrate holding, and Al Qaim to demonstrate building and transitioning power from the Americans back to the local Iraqis. The map needs to be broad enough to highlight all of the Marine’s area of operations from Baghdad west to Syria. The influx of insurgents from other countries frequently involved travel from Syria overland into insurgent hot spots, like Fallujah. Must conclude with mention of bypass toward the epilogue.

Program Type: TBD

Length: Two minutes

Software: TBD

Hardware: Video Monitor with single track audio

Media Exhibit: AV 1417 ‐ STACK IN THE ALLEY

Exhibit Gallery: 14 | Afghanistan & Iraq Exhibit Scene: 14-8 | River Campaign

Media Purpose: Expand the River Campaign immersion into a virtual alley and building interior in order to show visitors how a “stack” of Marines approach, enter, and clear a building. Note this media will NOT show Marines kicking down a door.

Visitor Experience: Entering a Building in Fallujah: This is a rear projected media piece that simulates a fire team of four Marines, followed by an interpreter, who enter the door of a building in Fallujah and rush inside to clear the space of insurgents.