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Linnie Blake

deployed by American film makers to explore and revise ideas of national identity in the light of the traumatic events of the recent past. From the 1960s onwards, in response to the Vietnam War, the 126 From Vietnam to 9/11 generational, ethnic and regional conflict engendered by the imposition of Civil Rights in the South and the rise of the counterculture across the United States, a new kind of horror cinema, exclusively located in the backwoods of the American psyche had emerged as films such as John Boorman’s Deliverance (1972), Tobe Hooper’s The Texas Chainsaw

in The wounds of nations
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Horror cinema and traumatic events
Linnie Blake

groups whose challenges are nonetheless marginalised or suppressed by their economic and political masters, horror cinema can be seen to fulfil an additional function. To explore this we turned to the dislocations wrought to American self image by the Vietnam War, the civil rights struggle, economic collapse and the neo-conservative ascendancy of 190 The wounds of nations the Reagan years. For in the face of a pronouncedly bifurcated national culture in which entirely antithetical conceptions of the individual, the state and the people fought it out over the

in The wounds of nations
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Carol Acton and Jane Potter

a litter so he could be evacuated to the rear’.14 It was not until after the Vietnam War, when former nurses such as Lynda Van Devanter, whose memoir, Home before Morning, will be discussed in Chapter 5, recognised the description of post-war symptoms in what was being diagnosed as post-Vietnam syndrome and then post-traumatic stress syndrome or disorder in combatant veterans, that members of this medical personnel community came to understand that caring for the wounded, and watching them die, and at times being under attack themselves, could result in a

in Working in a world of hurt
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Alison Smith

, Madeleine Film, Sandrew Camera: Willy Kurant, William Lubtchansky Editing: Janine Verneau Continuity: Elizabeth Rappeneau Music: Pierre Barbaud, Henry Purcell Décor: Claude Pignot Principal actors: Michel Piccoli (Edgar), Catherine Deneuve (Mylène), Eva Dahlbeck (Michèle Quellec), Marie-France Mignal (Viviane Quellec) Loin du Vietnam 1967 A sequence was made for this collective film on French reaction to the Vietnam war, but was finally not used. Varda’s name remains in the

in Agnès Varda
Representations of war and rurality in British and American film
Rachel Woodward and Patricia Winter

, suspense builds, we hear his heart beating fast. This is a Vietnam war film, after all. But what’s there? Gradually, subliminally, we see the silhouette of a human figure, emerging by degrees from what we thought was an empty space between two trees, in dense jungle. It is an enemy soldier, his outline blurred by camouflage, his gun pointing directly at Taylor. Three more enemy figures emerge, seemingly

in Cinematic countrysides
The impact of the Cultural Revolution, 1966–67
Michael Lumbers

communist insurgency in South Vietnam. When a twotrack China policy of containment and tentative bridge-building took shape in 1966, it was propelled by strategic and domestic objectives closely related to the Vietnam War rather than by any long-term project of engaging moderate elements in Beijing. The explosion of China’s Great Proletarian Cultural Revolution later that same year, however, opened an entirely new dimension to Washington’s discourse on the mainland. The distinct possibility of internal tensions spilling over into neighboring countries, most notably

in Piercing the bamboo curtain
George A. Romero’s horror of the 1970s
Linnie Blake

’s self-image by the previous decade. Released in 1973, the year in which the United States effectively lost the Vietnam War, The Crazies is very much a product of Nixon’s first term of office. Set in Evans City, a small town in West Pennsylvania just north of Pittsburg, the film explores the legacy of an administration that had steadily rolled back the civil rights legislation of the 1960s, cracked down hard on anti-war elements and other dissident groups and engaged in the wholesale wiretapping and file-keeping on hundreds of thousands of individuals and organisations

in The wounds of nations
Open Access (free)
Harold Wilson and Lyndon B. Johnson: a ‘special relationship’?
Jonathan Colman

. 38 Bodleian Library, Harold Wilson Papers, C. 1179, Wash. DC April 1970 NY 4 May 1970, University of Texas speech, ‘Anglo-American Relations: a Special Case?’, 30 April 1970. 39 Harold Wilson, ‘How a prime minister and an ambassador almost stopped the Vietnam War’, The Diplomatist, 35: 4 (April 1979), p

in A ‘special relationship’?
Contemporary naval films
Jonathan Rayner

totalitarian aggression and subversion; and the New World Order and more recently the ‘War on Terror’ were established to defend civilised people the world over against the uncertainties and dangers of the post-Cold War era.1 The return of the war film to popular cinema over the past decade has been accompanied by the continued revision (and in some cases retrenchment) of the genre’s conventional and ideological facets. After several years of avoidance, the Vietnam War underwent repeated representation in American cinema during the late 1970s and 1980s. The ambiguous

in The naval war film
The emergence of a two-pronged China policy, 1965–66
Michael Lumbers

this isolated camp signified an important turn in Washington’s China debate. The politics of bridge-building The second major factor accounting for the emergence of a more flexible China policy was another outgrowth of the Vietnam War, namely, growing public pressure at home. Agitation from some quarters in 154— P I E R C I N G T H E B A M B O O C U RTA I N Congress and among elite opinion-shapers in the media and the academic community had played a significant role in the adoption of the December 1965 travel package. Samplings of public attitudes throughout 1964

in Piercing the bamboo curtain