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

By Patricia Keeton

No different cinematic style extra sharply illustrates the contradictions of yankee society - notions approximately social category, politics, and socio-economic ideology - than the warfare movie. This ebook examines the most recent cycle of warfare movies to bare how they mediate and negotiate the complexities of conflict, type, and a military-political venture mostly long past undesirable.

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You plan the wars you masters of men plan the wars and point the way and we will point the gun (241–243). After America entered the war in 1941 on the side of the Soviet Union in an alliance against fascism, the book was taken off the shelf in American bookstores, a politically motivated act of censorship Trumbo apparently agreed to, though after the Korean War began in 1950 and he was jailed a year later it was a decision he would come to question. Given the political and huge financial risks at play with mainstream cinema, it is unlikely that radical sentiments such as the ones above will be expressed by Hollywood.

Utterly chastised, Thersites disappears from Homer’s text, though his antiwar sentiments have never seemed anachronistic. On Google, Thersites commands over a quarter of a million returns, not bad for a character with a mere 20 lines to his credit. In Stanley Kubrick’s 1987 Full Metal Jacket, a work mordantly critical of the Vietnam war, the spirit of Thersites comes back in the character of Marine Private Leonard Lawrence (Vincent D’Onofrio). Like Thersites the American is odd—overweight and intellectually slow—and feeling just as oppressed by authority as the ancient Greek soldier.

They’ll fill a pit as well as better. 58–60). Falstaff is cynical about the men he bought on the cheap and whose lives are squandered in war, but the earls and the princes from the Houses of Lancaster and York are the ones spreading corpses around the battlefields of England. Deconstructing a Platitude: Shakespeare’s and Holly wood’s Band of Brothers Mainstream American war cinema has often sidestepped the provocative issues surrounding war such as patriotism, blind obedience, jingoism, or racism, and it rarely portrays the economic and political objectives for war.

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