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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 booklet 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 principally long gone undesirable.

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

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

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

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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. A number of twentieth-century war novels and the films based on them reprise the theme that in war the common foot soldier is likely to be betrayed 32 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 by patriotic slogans, by the official military and political objectives of war, none of them likely to be his own, and by the illusion of the band of brothers slogan.

Sail home to the fatherland we love! We’ll never take the broad streets of Troy. (lines 161–165) The commander’s plan to test the fighting spirit of his armies immediately backfires. And now the first antiwar renegade in Western literature enters. Th e Wor k e r a s Wa r r ior 23 Thersites, a common soldier, described as “the ugliest man who ever came to Troy,” stands up in front of the Greek armies and denounces Agamemnon. Thersites says what everyone knows but that only Achilles, much later in the text, will have the courage to repeat publicly: Still moaning and groaning, mighty Atrides [Agamemnon]—why now?

If fighting insurgents in countries thousands of miles has no coherent reason, logic, or higher morality, nearly everything quickly becomes a shambles. ” From here on in nearly every dramatic moment is characterized by irony. Absolutely nothing is as it should be about Operation Desert Storm (January 1991–February 1991), in spite of the fact that this was a war the United States decisively won. Perhaps the most graphic example of how mordantly the first Gulf War is portrayed in Jarhead comes when, after a very long boring wait, the Marines move into the desert to commence the ground war against Iraqi troops in Kuwait.

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