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How does the vietnam war tie with the cold war
How does the vietnam war tie with the cold war
How does the vietnam war tie with the cold war
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The Meta-Narrative of American History
“One man’s dream is another man’s nightmare”, and perhaps one nation’s war is a potential Hollywood movie. While many Hollywood filmmakers have deemed it their true calling to present the war topic to the public in creating pictures which, according to McCrisken and Pepper, allow them to “critically engage with complicated questions about what constitutes ‘America’ domestically and internationally in the post-Cold War world.” A subject which leaves room for little to no debate is the perception that Hollywood directors, along with their pedagogical and informative topics, usually resort to films in order to convey messages and inform their viewers of the “bigger picture” they might seem to have glanced so quickly at. Such is the case with the two high-profile war movies, which are the subject of debate in this thesis, Oliver Stone’s Platoon (1986) and David Russell’s Three Kings (1999). Upon their release, with the emphasis on the former, they have both created quite a buzz which attracted the attention of many historians and created controversy which would be put under the microscope and thus promoting historical inquiry which the Americans would soon want to unravel (McCrisken & Pepper, 2005). In order to better understand the topic at hand, it is of extreme importance to tackle the perceived motive behind the advancements of the American army in the Vietnam War, and their involvement in the Gulf War. (thesis statement here?)
Oliver Stone’s ‘Platoon’: 1986
On the one hand, although Stone shies away and gives very little information regarding the motives behind the war, it is believed that the primary origin of the Vietnam War was a result of the consequences of the Cold War – many believing...
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.... Address to the 46th Session of the United Nations General Assembly in New York City. Retrieved April 7, 2014, from Public Papers of the Presidents of the United States of America: http://www.presidency.ucsb.edu/ws/?pid=20012
McCrisken, T. B., & Pepper, A. (2005). American History and Contemporary Hollywood Film. New Brunswick, New Jersey: Rutgers University Press.
Rosenstone, R. A. (2000). Oliver Stone as Historian. In R. B. Toplin, Oliver Stone's USA: Film, History and Controversy (pp. 27-28). Kansas: University of Kansas Press.
Vidal, G. (2002). Perpetual War for Perpetual Peace: How We Got to Be So Hated. New York: Nation Books.
Rollins, P. C., & O'Connor, J. E. (2008). Why We Fought: America's Wars in Film and History. Lexington, Kentucky: The University Press of Kentucky.
Bush, G. H. W., & Scowcroft, B. (1998). A world transformed. New York: Alfred A. Knopf.
Appy’s book is valuable to its readers in showing how Vietnam became the template for every American war since, from novelties like the invasion of Grenada to the seemingly never-ending conflicts post-9/11. But before all that, there was Vietnam, and, larger lessons aside, Appy’s book is a fascinating, insightful, infuriating and thought-provoking study of that conflict, from its earliest days
The Vietnam War: A Concise International History is a strong book that portrays a vivid picture of both sides of the war. By getting access to new information and using valid sources, Lawrence’s study deserves credibility. After reading this book, a new light and understanding of the Vietnam war exists.
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
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.
Tindall, George, and David Shi. America: A Narrative History. Ed. 9, Vol. 1. New York: WW. Norton & Company, 2013. 185,193. Print.
Kurtz, Michael L. “Oliver Stone, JFK, and History.” Oliver Stone’s USA. Ed. Robert Brent Toplin. Lawrence: University Press of Kansas, 2000. 166—177.
O’Brien, Tim. How to Tell a True War Story. Literature and Ourselves. Sixth Edition. Eds.
"History and the Movies: The Patriot and Glory by Mackubin T. Owens." Ashbrook Center for Public Affairs at Ashland University. Web. 25 Sept. 2011. .
Boyer,Paul S. Editor, the Oxford Guide to United States History, New York Oxford University Press, 2001
Dean, Adam. "Pulp Fiction." Movies in American History: An Encyclopedia. Ed. Philip C. DiMare. Vol. 2. Santa Barbara, CA: ABC-CLIO, 2011. 404-405. Gale Virtual Reference Library. Web. 10 Apr. 2014.
The movie The Patriot, released in June of 2000, was a blockbuster film written about the adversities one man comes face-to-face with in the heat of the American Revolutionary War. It is acclaimed for its play on human emotion and for its action-packed scenes that will have viewers sitting on the edge of their seats. Although the movie is based off of this factual, and pivotal, event in America’s history, The Patriot is horrendously historically inaccurate in its representation of the characters, setting, and its periodically incorrect depiction of the events during and surrounding the American Revolutionary War.
Tindall, George B., and David E. Shi. America: A Narrative History. 7th ed. New York: W.W. Norton & Company Inc., 2007.
Though there has been much controversy surrounding film noir’s status as a genre, its role as an influential artistic movement in cinema is undeniable. Even some of film noir’s most vocal critics have conceded that it "was an essential part of the 1940s outlook, a cinematic style forged in the fires of war, exile, and disillusion, a melodramatic reflection for a world gone mad” (House 65). Just as the United States had entered into battle with the allied powers, noir arose as an insurgent challenging the classic Hollywood tropes of filmmaking and offering a more sinister glimpse into American society. In order to fully understand the impact of film noir, it is vital to analyze the historical framework from which it arose, especially the heightened
As stated in American Culture, American Cinema, “In the Vietnam and Watergate era, the movies dramatised the essential hostility that lay beneath the relationship between the individuals and the system.” (Belton, 2005,
Frieden, Jeffry A., David A. Lake, and Kenneth A. Schultz. World Politics. New York: W.W. Norton &, 2013. Print.