By Patricia Keeton
No different cinematic style extra sharply illustrates the contradictions of yank society - notions approximately social classification, politics, and socio-economic ideology - than the warfare movie. This ebook examines the newest cycle of warfare motion pictures to bare how they mediate and negotiate the complexities of struggle, type, and a military-political challenge principally long gone undesirable.
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Additional info for American War Cinema and Media since Vietnam: Politics, Ideology, and Class
This history of restraints to which movies are held hostage by politics is long. Often considered too provocative, American films have been banned in foreign countries. But banning films in this country has also had a rich tradition, starting with one of the most contentious big movies ever made in the United States, The Birth of a Nation. Released in 1915 and directed by D. W. Griffith, it was banned the year it opened in several American cities for its overt racism (“The Birth of a Nation and Black Protest”).
Then a very curious thing happens. The soldier, obviously touched, starts to lock and load his weapon, preparing to join his brother warrior. “Hey, don’t even think about it,” Hoot warns him. ” The band of brothers concept temporarily gives way to the spirit of Achilles—an army of one. Militarily the Battle of Mogadishu may have been a blunder, but it went wrong the way the Battle of the Alamo did, because no other movie did more to promote the cause of the Pentagon before the two post-9/11 wars.
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 game was released in October 1991 for Macs (Gamefaqs 2010). com 2012). Nevertheless, whereas the graphic quality of this war video game was relatively primitive, both Hollywood and the video industry were quickly learning: any war could become good were it turned into a FPS video game, and by 2005, war video games were making more money than Hollywood movies (Cowlishaw 2005), and by the end of the decade were making billions of dollars a year worldwide (McGlaun 2010).
American War Cinema and Media since Vietnam: Politics, Ideology, and Class by Patricia Keeton