Topic 1 – American Sniper: Cinematic works are inarguably a strong social device – impacting directly on public consciousness and reflecting aspects of local character and culture. The international relations theory of social constructivism supports this notion, as it is largely concerned with the identities and self-conceptualisations of states or other world actors (Jackson & Jones, 2012). Furthermore, social constructivism is a process of constructing meanings and realities. In film, “meanings arise in the intentions of the producer, in the conventions of the content, and in the interpretations of the receiver” (Anderson & Meyers, 1988). A collective analysis of the annual US-produced Theatrical Market Statistics Report indicates that the …show more content…
This complex explains the increasingly blurred distinctions between waging, watching and playing war. The most prominent example came to fruition in November of 2001, when Hollywood executives collaborated with the Bush administration to consider how the motion picture industry might respond to 9/11, and to decipher ways that they could contribute to the War on Terror (Carter & Dodds, 2014). This was a way of recouping US national identity and …show more content…
Donning the superhero uniform gave the troops permission to become defenders of the faith, protectors of the American people and safe-guarders of American interests.” (Tier, 2013) American Sniper proves largely successful in accomplishing this in the Middle Eastern market. Elsewhere, across the region, the film is facing a mixed reception. American Sniper opened in the UAE, Qatar and Kuwait, albeit with cuts, particularly to a contentious scene involving a Koran. The film was initially rejected by censors in Jordan Jalal says the movie doesn’t strike him as racist or anti-Arab. He says he finds the main character appealing regardless of the fact that he’s an American soldier killing Iraqis during the US-led occupation of his home country. “He was a hero and he went through difficult training,” Jalal explained, saying Chris Kyle was just serving his country, a universal duty for all men. Universal recognition of a hero – middle eastern reaction Topic
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
This historical study will compare and contrast the depiction of the “War on Terror” in a pro-government and anti-government plot structures found in Zero Dark Thirty (2012) by Kathryn Bigelow and The Siege (1998) by Edward Zwick. The pro-government view of Zero Dark Thirty defines the use of CIA agents and military operatives to track down Osama Bin Laden in the 2000s. Bigelow appears to validate the use of torture and interrogation as a means in which to extract information in the hunt for Bin Laden. In contrast this depiction of terrorism, Zwick’s film The Siege exposes the damage that torture, kidnapping, and
Hoberman, J. An Army of Phantoms: American Movies and the Making of the Cold War. New
Host: On September the 11th 2001, the notorious terror organisation known as Al-Qaeda struck at the very heart of the United States. The death count was approximately 3,000; a nation was left in panic. To this day, counterterrorism experts and historians alike regard the event surrounding 9/11 as a turning point in US foreign relations. Outraged and fearful of radical terrorism from the middle-east, President Bush declared that in 2001 that it was a matter of freedoms; that “our very freedom has come under attack”. In his eyes, America was simply targeted because of its democratic and western values (CNN News, 2001). In the 14 years following this pivotal declaration, an aggressive, pre-emptive approach to terrorism replaced the traditional
...s at that time who have come of age. Perhaps no film in recent history has captured more attention and generated more controversial debate. This film resonates the feeling and question that common people had about the JFK assassination in the 60s. As a result, the debate about the validity of JFK extended much further into the war-torn cultural landscape of America in the 1990s than most observers noted. The JFK was a telling incident demonstrating the larger cultural conflict over values and meaning in America and the competition to define national identity. The whole affair demonstrated how effective a motion picture can be as a transmitter of knowledge, history, and culture. As a result, the debate about the validity of JFK extended much further into the war-torn cultural landscape of America in the 1990s than most observers have noted.
"There are wounds that never show on the body that are deeper and more hurtful thananything that bleeds. Don 't wait until you break. - Laurell Hamilton" This is oftentimes the sentiment felt by soldiers who have served in active duty and have been witnesses to tragedies that leave them emotionally scarred. The Clint Eastwood directed film, American Sniper is amovie that features the real life tragedy of American soldier, Chris Kyle, who served in theUnited States military as a Navy Seal, which is an elite group (Kenny, 2014 and Treitschke,2015). His story is unique in that he himself suffered from Post-Traumatic Stress Disorder(PTSD), but as he worked to recover, he valiantly served again by helping fellow soldiers withPTSD ("Chris Kyle," 2013), and was senselessly gunned
Martin, Geoff, and Erin Steuter. Pop Culture Goes to War: Enlisting and Resisting Militarism in the War on Terror. Lanham: Lexington Books, 2010. Print.
The transformation of America is often discussed in both popular media and academic dialogue. Each generation has a name, new technologies define new eras, and events seem only notable when they are “historic”. While major events catch the interest of a broad spectrum of the public consciousness, subtle interactions between actors and slight shifts in beliefs are constantly changing the realities of the world. When the twin towers fell in 2001, the United States seemed to be thrust into a new world of Weapons of Mass Destruction, Jihadists, and a global fight against terrorism; bombs were dropped, ground forces were deployed in foreign states, and anyone who publicly questioned the urgency of war was at risk to be labeled a traitor. This one event was indelibly branded on the consciousness of the world and if often seen as a moment of sudden transformation. Most Americans believe that the troop presence in Iraq and Afghanistan are due to the terrorist attacks on the United States and while it is hard to deny that the 9-11 attacks was the impetus for putting boots on the ground, it is imperative that the chain of events following the horror of September 11 are seen to reflect the willingness and wants of actors in control before the towers fell.
Allen Moore’s sordid depiction of twentieth century life presents a complex world, where the distinction between a virtuous hero and a villainous wrongdoer is often blurred. In stark contrast to the traditionally popularized portrayal of superheroes, whose unquestionably altruistic motives ultimately produce unrealistically idealized results; the realistically flawed characters of Watchmen exist in a multi faceted world characterized by moral ambiguity. America’s imperialistic ambitions have long been justified as an expression of American idealism. Much like the portrayal of superheroes in popular culture, America’s intervention in foreign affairs was portrayed as the result of a clearly defined problem, where American intervention was necessary and consensual. The Watchmen exist in an American reality that does not depend on them as the archetypal hero as demonstrated by the fact that their presence is not necessary to the survival of the world. Collectively the characters of Watchmen parallel the tumultuous relationship that as a superpower the United States of America has with the rest of the world.
Michael Moore’s latest film, “Fahrenheit 9/11,” presents a critical look at the administration of George W. Bush and the War on Terrorism. In this film Moore investigates the rapid growth of the United States government and its trend of trampling the rights of individuals, and the corporatism that is spawned out of the close ties between big government and big business during wartime. Michael Moore may not convince all audiences, but is successful for its factual accuracy in which the evidence spoke for itself, and at the same time proclaimed Moore's artistry in transposing and splicing scenes to create impressions that supported his allegations and opinions. Michael Moore has employed two main techniques in an attempt to successfully influence his audience; psychological means of strategy, and cinematic techniques of persuasion. These methods, coupled with how they are presented to the audience, and how the audience react, are what Moore uses to create a scheming effect.
Media texts are created from past events that have occurred and often times Hollywood would try and manipulate the event so it represents the past and the reception it gets through different communities. The film Argo (2012) is no exception trying to show a “Hollywoodize” event of the Iranian Hostage Crisis which received mixed receptions and is controversial on how the event is portrayed. The film is often criticized for the authenticity and accuracy of how the event is portrayed; the film directed by Ben Affleck chose to add “drama” and manipulate the actual event in order to obtain a wider audience. With the film involving a variety of government during the hostage crisis, the film focuses only specific on U.S. government and Canadian government. The film focuses on showcasing how powerful C.I.A. and American government is. While the Canadian government portrayed played a minor role in the film and other governments was not even mention. The film was criticized by United States, Canada, and British and New Zealand’s critics for the role each country had in the film as it shows the film is deceptive in telling the truth and accuracy of the event. United States had its role glorified that it seemed to have done most of the work; while Canada had its role minimized, and that the film was made out to have a small role that Canada had with United States, but some countries like New Zealand was not even mentioned. Therefore, with the mixed reception the film received it makes the understanding of Iranian Hostage Crisis on how that event better understands the role of government in cinema is shown between countries: U.S., British and New Zealand, and Canada.
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
In the crosshairs of, US Navy Seal, Chris Kyle’s scope, sits a woman and a young boy who appear to be attempting to hide something. Seconds pass, and the woman passes the item to the boy, revealing to Kyle and anyone around just what they have, a deadly grenade. After talking to his partner and his general on his radio, he has to make a choice, to kill or not to kill. His partner makes the decision harder by telling him “They’ll fry you if you’re wrong,” regarding if the child in question is actually a threat or simply a misunderstanding. This is the opening scene in the 2015 film, “American Sniper” which is based on the real life events experienced by Chris Kyle in Iraq (Eastwood, 2015).
...ilms such as Fast & Furious with a critical eye, it’s clear that the recurrent racialized stereotypes that are commonly portrayed in action films are directly contributing to and reflecting the materialization of stereotypes in our culture. Although films may be posed as superficial or mindless, they cannot be viewed passively without questioning what was seen. Even a film that is meant to be made for fun or entertainment can reject stereotypes and challenge the mainstream ideologies of what we think we know about people based on race. Media characterizations have real life repercussions, and the characters in Fast & Furious honestly could have been presented without resorting to stereotypes and racial hierarchies. Once you keep an open eye for these stereotypes, you simply can’t stop seeing them. Media is not apolitical, not neutral, and definitely not arbitrary.
The amount of corruption within the United States’ violent involvement in the Middle East is almost unreal. Unfortunately, the wars have been too real—half a million deaths in the first year of Iraqi Freedom alone (Rogers). These wars have been labeled--the violence, filtered-- to fit a specific agenda. Whether the deaths are deemed an acceptable loss in the name of national security, or as a devastating injustice, the reality doesn’t change. Lives have been lost. Lives that will never be brought back. The intention of wars is in part due to attacks on the twins towers on September 11th 2001. When the buildings fell, almost three thousand people died, according