By Patricia Keeton
No different cinematic style extra sharply illustrates the contradictions of yankee society - notions approximately social classification, politics, and socio-economic ideology - than the warfare movie. This e-book examines the newest cycle of battle motion pictures to bare how they mediate and negotiate the complexities of battle, category, and a military-political challenge mostly long gone undesirable.
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Extra resources for American War Cinema and Media since Vietnam: Politics, Ideology, and Class
24 A m e r ic a n Wa r C i n e m a a n d M e di a s i nc e V i e t n a m In the original Greek, Homer’s poem ran to nearly 16,000 lines, and in only 60 of these lines is Thersites featured before disappearing entirely from the rest of the text, a testament to the marginalization of class-based antiwar sentiment by the chroniclers of history in every era. Nevertheless, despite his extremely brief appearance, the Greek commoner’s dissent has resonated for 2,700 years, a dissonance now finding its voice in film, video, and television and articulating what every warrior over the millennia must sense: wars always begin with high-sounding ideals and patriotic slogans, but they are fought at great cost by foot soldiers who stand little or nothing to gain.
W. Bush and the war is not fake but in fact Desert Storm. In 2004 it was reissued as Wag the Dog: A Novel, and it is based around the narrative that Operation Desert Storm had been scripted and choreographed as a ploy to get George H. W. Bush reelected to a second term. So it is probable that Wag the Dog, the movie, is an elaborate and very darkly ironic comment on the first Gulf War. An overtly commercial attempt to make a good war movie out of Desert Storm was Operation: Desert Storm, the video game by Bungie Software that was based on the then ongoing real Operation Desert Storm.
The movie lines that best epitomize this new ideological basis or rationale for war—are articulated by Sergeant First Class Norm “Hoot” Gibson, based on the real life Delta Force Operator Norm “Hoot” Hooten, a member of the Delta squadron during the Battle of Mogadishu in Somalia. This is how Hoot explains it toward the end of the movie when a soldier asks him why he is rearming to go back into a battle that is very nearly lost: “There are still men in there. When I go home people ask me, hey, Hoot, why’d you do it?
American War Cinema and Media since Vietnam: Politics, Ideology, and Class by Patricia Keeton