Search results

You are looking at 1 - 10 of 92 items for :

  • "Vietnam War" x
  • Film, Media and Music x
  • Refine by access: All content x
Clear All
Abstract only
Khaki Gothic and Comedy
Sunday Swift

On first glance, M*A*S*H (1972–83) might not be the ideal text for Gothic analysis. Aesthetically, the traditional dark castles surrounded by black forests in the moonlight are replaced by muted khaki and green canvas Army tents, and the tinny canned laughter punctuating the sardonic jokes echo longer than the terrified screams in the night. Gothic and war are uneasy bedfellows; it is the inclusion of comedy, however, that determines just how horrific the result can be. Using M*A*S*H as a primary example to explore what I refer to as Khaki Gothic this paper will explore how, utilising Gothic tropes, comedy can disguise, diffuse and intensify the horrors of war.

Gothic Studies
From Vietnam to the war in the Persian Gulf
John Storey

Vietnam War as a noble cause betrayed – an American tragedy’. For example, in the 1980 presidential campaign Ronald Reagan declared, in an attempt to put an end to the Vietnam Syndrome, ‘It is time we recognized that ours was, in truth, a noble cause.’ 9 Moreover, Reagan insisted, ‘Let us tell those who fought in that war that we will never again ask young men to fight and possibly die in a war our

in Memory and popular film
Abstract only
Deconstructing existentialism and the counterculture in The Gambler (1974) and Dog Soldiers/ Who’ll Stop the Rain (1978)
Colin Gardner

movie that Reisz originally had in mind’. 3 Many pundits also attributed the film’s box-office failure to negative political reaction against Vanessa Redgrave for her vocal antiwar stance (Middle America was still predominantly in favour of the Vietnam War in 1969). Despite her undeniably brilliant performance, which earned Redgrave a Best Actress Oscar nomination (she eventually lost to joint-winners, Barbra Streisand in Funny Girl and

in Karel Reisz
Abstract only
Chris Beasley and Heather Brook

late 1990s), and ‘Conglomerate Hollywood’ (early 2000s to the present day). We see, alongside each of these periods, related shifts in the war film genre. Golden Age post-war patriotism declines, in the 1960s, with ‘New Hollywood’ challenges to patriotic obedience associated with the Vietnam War, and this mood continues until the early 1980s. These changes were followed by the growth of an ambivalent or disguised rehabilitation of patriotism in the latter part of the New Hollywood epoch associated with Reaganite responses 68 Security to the Cold War. Since the

in The cultural politics of contemporary Hollywood film
Fanny and Alexander in Swedish politics
Erik Hedling

eighty-six years), and the trade unions. On the other hand, there was the (albeit much smaller) ‘Anti-establishment Left’, comprised of a number of Marxist fractions which began to emerge with Sweden’s anti-Vietnam War movement in the mid-1960s. 5 By 1980, however, these latter groups had begun to lose some of their former media clout. While the Establishment Left and the Anti-establishment Left had very little sympathy for each other, some semantic problems arose from the fact that they both described themselves

in Ingmar Bergman
Abstract only
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
Abstract only
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
Abstract only
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
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