The Role of Propaganda in China Gate, The Green Berets, and Rambo: First Blood, Part Two
“Film has established itself as a major medium by which our culture reflects and shapes its reality” (Taylor 186). Nowhere is Bruce Taylor’s statement made more clear than in movies about the Vietnam War. While some films, like Stanley Kubrick’s Full Metal Jacket, illustrate how horrible the army can be, other Vietnam War films glorify the armed services and American superiority in an attempt to alleviate the public’s fears that the war was a negative undertaking. China Gate (1957), The Green Berets (1968), and Rambo: First Blood, Part Two (1985) all glorify Americans at war. As Leo Cawley claims in his essay, “The War about the War: Vietnam Films and American Myth,” they sought to show that “the Americans are the good guys, the Viet Cong are the bad guys, and the peasants are the frightened townsfolk who need protection and rule of law” (74). The characters in these films have no ambiguity to them, but rather just the opposite: they are either paradigms of goodness or pillars of evil. By analyzing these one-dimensional characterizations, we are clearly able to see the propaganda in these films.
Propaganda in films did not begin with the sending of U.S. troops to Vietnam. As the French were slowly losing the battle in Southeast Asia in the 1950s and the United States was consequently taking over monetary as well as human forces there, an explanation was necessary for the American people. Samuel Fuller’s China Gate was made to offer just that. Filmed when the U.S. was already active in Vietnam but not yet involved in an outright war, the movie, which has “a rather clear political intent,” attempts to, as David E. Whillock says, “produce a positive image of involvement in Southeast Asia to the American public” (305). The film seeks to influence American audiences against the Communists and to show the public that Americans are just trying to help the poor South Vietnamese. Made at a time when the Red Scare was at its height, China Gate is an obvious representation of the fear of Communism in that era. In fact, at the time the film was made, there were over two hundred suspected Communists blacklisted by the Hollywood studios themselves (Belton 242). This attitude comes through in the film right from the beginning with a voice-over that Rick Berg, in his essay “Losing Vietnam: Covering the War in an Age of Technology,” calls a “political endorsement disguised as a history lesson” (53).
The Vietnam War, which lasted for two decades (1955-1975), was probably the most problematic of all American wars. US involvement in Vietnam occurred within the larger context of the Cold War between the US and the USSR. It was, and remains, morally ambiguous and controversial. The Vietnam War was slated as both a war against Communism and a war aimed at suppressing dangerous nationalist self-determination. Christian G. Appy's book, Working-Class War: American Combat Soldiers and Vietnam, is a graphic and perceptive portrayal of soldiers' experiences and the lasting effects the Vietnam War has had on the American culture and people. Working-Class War: American Combat Soldiers and Vietnam, is an analytical work that has three major purposes: 1. to show that those who fought in Vietnam were predominantly from the working class 2. to convey the experiences of the soldiers who served in Vietnam and 3. to offer his own scathing commentary of American actions in Vietnam.
The Vietnam War was a vicious conflict predominately between the United States and Australia against The Viet Cong and The North Vietnamese. Initially the public supported the war, however the American president of the time, Lyndon B. Johnson, exaggerated how easy and worldwide the war was to attract further support. When he called for “more flags” to be represented in South Vietnam only the Philippines, the Republic of South Korea, Thailand, Australia, and New Zealand indicated a willingness to contribute some form of military aid. By doing this “it enabled Johnson to portray the developing war as international to show it must be dealt with and gain support,” (Hastings, 2003). The outcome of the Vietnam War was ensured because the governments of the United States and Australia could not maintain their publics’ support due to the popular culture of the time. This was because much of the war was shown on television or other popular culture, so events like the Battle of Long Tan could be seen by families and people of all ages in their living rooms; this was the first time they could see how bad a war can actually be.
Tim O’Brien’s book, The Things They Carried, portrays stories of the Vietnam War. Though not one hundred percent accurate, the stories portray important historical events. The Things They Carried recovers Vietnam War history and portrays situations the American soldiers faced. The United States government represents a political power effect during the Vietnam War. The U. S. enters the war to prevent a communist takeover of South Vietnam. The U.S. government felt if communism spreads to South Vietnam, then it will spread elsewhere. Many Americans disapproved of their country’s involvement. Men traveled across the border to avoid the draft. The powerful United States government made the decision to enter the war, despite many Americans’ opposition. O’Brien’s The Things They Carried applies New Historicism elements, including Vietnam history recovery and the political power of the United States that affected history.
Words and images were silent weapons used by all governments involved during World War II. Wars are generally fought between soldiers, but the different ideologies often meet on the battlefield as well. The support of the people is crucial during these times since general knowledge of strength relies on numbers. Propaganda targets people’s emotions and feelings and changes people’s perception about a particular idea, people, or situation. Propaganda goes hand in hand with the art of persuasion and convincing; these tools can control and manipulate the collective minds of a massive amount of its audience.
Fuller, J.F.C. "Propaganda and War. The New Technique of Mendacity as a Psychological Weapon." Ordnance, Dec
With these wrathful words of Achilles to his commander Agamemnon, so begins the sequence of events in The Iliad that ultimately pits Achilles the runner against Hector, breaker of horses. Although these men were already enemies, Achilles being an Achaean and Hector being a Trojan, it is truly Achilles’ rage that makes the rivalry personal. These two men, from opposite sides of the battle lines, are both strong, brave, and heroic, but also possess a myriad of conflicting character traits. It is these differences that aid both men in their independent pursuits for honor and the implementation of their separate destinies.
...eir men and commanded by men, as partial divinities and as mortal humans. Both men must balance the opposite dynamics of separation from and assimilation with their respective troops. Neither the Achaean nor the Trojan masters this equilibrium; together both aspects of each hero brings him to the edges of humanity. Each warrior complements the other, since Achilles and Hector prod the other to everlasting glory and challenges his determination to achieve greatness. The concluding clash amid Achilles and Hector manifests his dwelling in the cosmic order: while they battle just outside the city, so they stand just before the entrance to eternal life everlasting. Though Achilles and Hector cannot escape their pending fates, they travel longer toward immortality in the present than any other man —facing humanity to the fullest extent, yet also glimpsing into the divine.
The most powerful warriors in this story were Hector and Achilles. Both men were given the title of heroes and displayed great power, skills and courage. But the values of Hector and Achilles were very different from one another and very different from the people of today’s society. Dignity, pride, honor, glory, fame, and revenge are very important to these people as it still is today, but it is achieved in a much different way.
Hector was the best warrior in all of Troy. He was the Trojans best hope of winning the war against the Greeks. Achilles was the Greeks best warrior, and their best chance of winning the war. This automatically made the two characters adversaries,
...ks for ways to increase his power even at great cost. This portrayal represents the Greeks fear of dictators who would take advantage of the Greek people for their own well-being. The conflict between Agamemnon and Achilles is a reflection of the evolving Greek culture and the question of which should be held in higher regard. Ultimately Achilles seems to yield to Agamemnon who has the power of authority. Homer’s conclusion of the story shows that ultimately Greek society would surrender to the power of politics and authority instead of the power of the strongest warrior. This decision ultimately benefits the Greeks because it allows their civilization to grow and continue to advance instead of freezing in a type of feudal system. Ultimately Homer’s Iliad provides interesting insight into Greek beliefs and civilization as they transitioned into more advanced states.
Buddhism has answers to many problems in the materialistic societies. Buddhism includes a deep understanding of the human mind; which is why I believe that Institutionalized Buddhism can be adapt...
Throughout every individuals life there are experiences of unfair judgments based on someone’s appearance. While this is never a good thing, it is an action that everyone takes part in, whether it is purposeful or not. In Frankenstein, Mary Shelley’s message is very clear as she illustrates the cruel events that take place in a society focused only on outside beauty. The central message that Shelley communicates with Frankenstein, is that while appearance is just one of an individuals many characteristics; it is always a factor they are judged on regardless of all the other qualities they may possess.
Thesis: Propaganda was a tool that leaders used to get people involved in wars of the past.
At times, the dissimilarity between the personalities of Hector and Achilles appear insurmountably vast. Just the introductions of both characters illuminate the stark distinctions between the two. The Iliad opens by referencing one of many selfish deeds committed by Achilles and its dire consequences. Out of rage, he takes advantage of his supernatural lineage and requests that his mother, Thetis, sway Zeus in favor of Trojans. Agamemnon alone offended Achilles by insulting him and confiscating his war prize, yet Achilles’ rage cost the entire greek army “incalculable pain, pitched countless souls of heroes into Hades dark” (1.3-4). Hector’s actions in Book VI show him to be a selfless hero. Unlike Hercules, who concerns himself with the gods when they assist his desire for timé, Hector reveres the gods. He refuses to pour a libation to honor Zeus with hands covered in dirt and blood blood. Achilles actions only benefited himself by causing the army feel that they needed him to succeed. He shows no compassion or remorse for those who are struck down due ...
Sensory branding affects the brain by engaging the sensory organs (taste, smell, sight, sound and touch). Brands can’t impart an an aroma via a television or newspaper. In fact, the unique aroma, texture and sound has very little to do with the performance of the product. However, these factors play a great role by the communication between consumer and product. The sensory stimulation not only attracts consumer decisions but also helps distinguish a product from others. These get linked in our memory and finally get a part of our choice.