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

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 category, politics, and socio-economic ideology - than the warfare movie. This e-book examines the most recent cycle of struggle motion pictures to bare how they mediate and negotiate the complexities of conflict, type, and a military-political project principally long past undesirable.

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Extra info for American War Cinema and Media since Vietnam: Politics, Ideology, and Class

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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. But it has seized, with enthusiasm, the rallying cry made famous by Shakespeare’s Henry V ’s Saint Crispen’s Day oratory, now known superficially as the “band of brothers” speech. To embolden his greatly outnumbered soldiers, Henry offers them this: From this day to the ending of the world, But we in it shall be remembered—We few, we happy few, we band of brothers; For he today that sheds his blood with me Shall be my brother; be he ne’er so vile, This day shall gentle his condition; And gentlemen in England now-a-bed Shall think themselves accurs’d they were not here, And hold their manhoods cheap whiles any speaks That fought with us upon Saint Crispin’s day.

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.

The viewer becomes the machine gunner on top of the armored personnel carrier and, more spectacularly yet, the SOAR soldiers behind the M197 electric cannon, the electric Gatling-type rotary cannon mounted on the Black Hawks, shooting innumerable skinnies on the rooftops. 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.

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

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