Attachment_C_Media_Treatments.pdf

National Museum of the Marine Corps 6 May 2016

Media Exhibit Title: MARINE SECURITY GUARDS Revision Number:

Media Exhibit Number: AV0503 Exhibit Gallery: 5 | Legacy Walk Exhibit Scene: 5‐3 | No Better Friend

CONTENT/NARRATIVE

Media Purpose:

▪ To examine an important role filled by modern Marines: Marine Security Guards. Note: In the next paragraph, you talk about them often coming under attack.

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 US 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 State Department 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, bring the total serving in the MSG to ??.

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.

Software: TBD

Hardware: TBD

National Museum of the Marine Corps October 28, 2015

Media Exhibit Title: NON‐COMBAT MISSIONS Revision Number:

Media Exhibit Number: AV0504 Exhibit Gallery: 5 | Legacy Walk Exhibit Scene: 5-4 | No Better Friend

CONTENT/NARRATIVE

Media Purpose:

• 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 Military 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.

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

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

National Museum of the Marine Corps 15 Aug 2016

Media Exhibit Title: FORWARD DEPLOYED – Advanced Organizer Revision Number:

Media Exhibit Number: AV1301 Exhibit Gallery: 13‐0 | Forward Deployed Exhibit Scene: 13‐1 | Advance Organizer

CONTENT/NARRATIVE

Media Purpose:

▪ 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 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 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

Marines helping with typhoon relief

PERFORMANCE SPECS

Program Type: Linear video with audio plus separate silent attract loop. The attract loop plays continuously when the space is unoccupied. When a motion/occupancy sensor is activated, the main video begins and loops while the space is occupied. When the space in unoccupied, the program reverts to the attract loop.

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

National Museum of the Marine Corps October 28, 2015

Media Exhibit Title: FORWARD DEPLOYED – EXIT

Revision Number:

Media Exhibit Number: AV1302

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

CONTENT/NARRATIVE

Media Purpose:

● 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 plus separate silent attract loop. The attract loop plays continuously when the space is unoccupied. When a motion/occupancy sensor is activated, the main video begins and loops while the space is occupied. When the space in unoccupied, the program reverts to the attract loop.

Length: Main video length will be 1 minutes or less. Attract loop will be approximately 15 seconds.

Media Exhibit Title: GULF WAR STORIES & ENVIRONMENT

Revision Number:

Media Exhibit Number: AV1304 Exhibit Gallery: 13-0 | Forward Deployed Exhibit Scene: 13-3 | Desert Shield

CONTENT/NARRATIVE

Media Purpose:

• 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 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, beginning the culmination of Operation Desert Storm.

This media pieces uses an interactive menu on a floor‐level kiosk, visitors can choose from stories including: 1) Saddam Hussein; 2) preparing for war; 3) air war, 4) amphibious and naval operations; 5) engineers; 6) ground war; 7) 24‐hour media and home front. Supporting video and environmental scenes are 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.

PERFORMANCE SPECS

Program Type: [Menu‐driven selection, eight possible programs]

Length: [Two minutes maximum for each selection]

Media Exhibit Title: COC

Revision Number:

Media Exhibit Number: AV1401 Exhibit Gallery: 14 | Afghanistan & Iraq Exhibit Scene: 14-1 | Advance Organizer: COC

CONTENT/NARRATIVE

Media Purpose:

▪ 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

Program Type: Linear video with audio plus separate silent attract loop. The attract loop plays continuously when the space is unoccupied. When a motion/occupancy sensor is activated, the main video begins and loops while the space is occupied. When the space in unoccupied, the program reverts to the attract loop.

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

Media Exhibit Title: FARP ENVIRONMENT Revision Number:

Media Exhibit Number: AV1414 Exhibit Gallery: 14 | Afghanistan & Iraq Exhibit Scene: 14-7 | March to Baghdad

Media Purpose:

▪ 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

Media Exhibit Title: RIVER CAMPAIGN – PROLOGUE VIDEO Revision Number:

Media Exhibit Number: AV1419

Exhibit Scene: 14-8 | River Campaign

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

Media Exhibit Title: STACK IN THE ALLEY VIDEO Revision Number:

Media Exhibit Number: AV1423

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. The window of the building will allow visitors to see the virtual fire team move through the building. This will play on a loop, with at least two different variations.

Length: Two minutes, per iteration. Nine iterations total.

Media Exhibit Title: FRIEND OR FOE WINDOW Revision Number:

Media Exhibit Number: AV1424

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. The window of the building will allow visitors to see the virtual fire team move through the building. This will play on a loop, with at least two different variations.

Length: Ninety seconds to two minutes, per iteration.

Media Exhibit Title: VIDEO EPILOGUE

Revision Number:

Media Exhibit Number: AV1431

Exhibit Scene: 14‐8 | River Campaign

Media Purpose: Explain to visitors the outcome of the River Campaign, and the emergence of new threats such as ISIS in Iraq and Syria.

Visitor Experience:

Abstract; This two‐minute video must explain that the surge produced sufficient combat power to leverage success during the Al Anbar awakening. Highlight success stories along the

Euphrates within the context of the River Campaign, and underscore the elections. Make mention of Saddam’s capture and 2006 execution for crimes against humanity. Like the prologue, this production needs to include animated maps that highlight major cities and battles; some redundancy is required from the prologue. Mention the capture and killing of Al

Qaeda’s leader, Osama bin Laden on 2 May 2011 in Pakistan, and link it to the transformation of

Al Qaeda, and the spread of terrorism and emergence of ISIS/Daesh.

Length: Two minutes