Download e-book for iPad: American War Cinema and Media since Vietnam: Politics, by Patricia Keeton

By Patricia Keeton

ISBN-10: 1137277890

ISBN-13: 9781137277893

ISBN-10: 1349447439

ISBN-13: 9781349447435

No different cinematic style extra sharply illustrates the contradictions of yankee society - notions approximately social classification, politics, and socio-economic ideology - than the conflict movie. This ebook examines the newest cycle of conflict motion pictures to bare how they mediate and negotiate the complexities of warfare, category, and a military-political challenge principally long past undesirable.

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As films about Desert Storm, Jarhead might have been a veritable recruiting poster for the Marine Corps, but instead the movie is as much dominated by angst and scenes of terrible destruction as it is with a battalion of buffed up, fun loving, eager to fight jarheads. By movie’s end Troy is dead back home, probably (though this is not made clear) by a drug overdose; a Vietnam-era veteran, looking terrible, sad, and confused greets the returning Marines with cries of “semper fi,” the motto of the Marines (semper fidelis, “always faithful”); and the last lines of the movie are Swofford’s once more and finally summing up his time in the Marines: A man fires a rifle for many years.

Ultimately Black Hawk Down becomes a paean, as are all recent combat movies involving the Special Forces including the 2012 film, Zero Dark Thirty, to what seems to be the unique sophistication of American weaponry. The lopsided slaughter of the Somali tribesmen meticulously enacted in Black Hawk Down made this failed mission a little less hard to accept. The movie also incorporated a subtheme that had nothing to do with the overt objective in Mogadishu. This was the familiar band of brothers motif that, threaded throughout the film, manages to divert the viewer’s attention to a virtue only the military seems able to supply.

Of the 37 plays Shakespeare wrote, war figures into at least 20 of them, evenly divided between his histories and tragedies. The history plays chronicle both the Hundred Years’ War (1337–1453)—periodic military conflicts between England and France— and the Wars of the Roses, the civil strife between the houses of York and Lancaster between 1455 and 1485. Not unlike Homer, Shakespeare understood the profound contradictions between the humanistic potential of ordinary men and the princes who aim for territorial conquest, between the high-sounding slogans of war and its toll on the men who fight.

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American War Cinema and Media since Vietnam: Politics, Ideology, and Class by Patricia Keeton

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