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From Vietnam to the war in the Persian Gulf
John Storey

also, and significantly, fail to articulate that which might also be remembered. I want to consider briefly four examples of what Hollywood ‘forgot’ about America’s war in Vietnam. Forgetting Vietnam Nowhere in Hollywood’s discourse on Vietnam are we informed about the extent of the resistance to the war. The counterculture, and the anti-war movement in general, has been given

in Memory and popular film
John Corner

immediately works symbolically as well as naturalistically. Similarly, the photograph has sufficient figurative ambiguity to afford a resource both for pro-war and anti-war readings, as student opinion also showed.5 It is a photograph that one might imagine the US Army being quite comfortable with, as well as the anti-war movement. Since Hetherington was working at the time as an embedded journalist, this is not at all surprising. Aesthetically, the very darkness of the image was central to critical responses, for some critics the indication of a technical

in Theorising Media
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Julian Mitchell’s Another Country
Jonathan Bolton

—a contemporary of Burgess's at Cambridge and an energetic leader of the Communist Club there—another likely part of the composite. Judd also “sneers” during the school's dedication ceremony for old boys lost in the Great War and early drafts of the play have him wearing an anti-war movement badge—a kind of forerunner perhaps of the CND peace sign. 24 Although the outline of Judd's life and his commitment to politics is drawn from Cornford and Guest (the postscript to the film version has

in The Blunt Affair
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Philip Hammond

governments and military were by far the most frequently cited sources, there were several sources who voiced criticisms of the war’s rationale and effects, including UN officials, aid agencies and Iraqi civilians, as indicated in Figure 7.2 . The category ‘anti-war critics’ includes prominent parliamentary opponents of the war as well as representatives of the popular anti-war movement, which helps to

in Framing post-Cold War conflicts
Lynn Anthony Higgins

Communist Party for failing to support the anti-war movement, and he blames himself for lacking the courage to support Algerian independence. Despite its grim subject, the film is lyrical and lovingly made, a tribute to men and families who suffered in silence, whether they did the right thing or not. The soldiers’ own photos are especially effective: juxtaposed with their faces of today, the difference is a poignant memorial to lost innocence and, in some cases, to the high price paid for wisdom. Response to the film was

in Bertrand Tavernier