In this thesis, I argue that twenty-first century American war films are constructed in dialogue with the past, repurposing earlier forms of war representation by evoking the visual and narrative memory of the past that is embedded in genre form—what Mikhail Bakhtin calls 'genre memory.' Comparing post-9/11 war films with Vietnam War films, my project examines how contemporary war films envision war's impact on culture and social space, explore how war refashions ideas about race and national identity, and re-imagine war's rewriting of the human psyche. My research expands on earlier research and departs from traditional approaches to the war film genre by locating the American Civil War at the origin of this genre memory, and, in doing so, argues that nineteenth century documentation of the Civil War serves as a rehearsal for the twentieth and twenty-first century war film. Constructed in explicit relation to the Vietnam film, I argue that post-9/11 war films rehearse the history of war representation in American culture while also emphasizing the radically different culture of the present day. Rather than representing a departure from past forms of war representation, as has been argued by many theorists, I show that contemporary American war films can be seen as the latest chapter in a long history of reimagining American military and cultural history in pictorial and narrative form.

Made available in DSpace on 2014-06-11T19:32:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-26Bitstream added on 2014-06-13T18:43:44Z : No. of bitstreams: 1 almeida_rd_dr_assis.pdf: 969155 bytes, checksum: 7d3ab972da58b9582e357141dca92604 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Trata-se de uma investigação sobre as posições políticas de Jean-Paul Sartre relacionadas ao Terceiro Mundo, entre 1947 e 1979. A investigação tem dois objetivos fundamentais: estabelecer as relações possíveis entre o contexto histórico – o mundo pós-guerra, as guerras de descolonização, a emergência dos países do Terceiro Mundo e o cenário político-intelectual francês – e a trajetória de Sartre; e analisar, por meio das fontes documentais, os problemas que o Terceiro Mundo – a Guerra da Argélia (1954-1962), a Revolução Cubana (1959) e a Guerra do Vietnã (1946-1975) – colocam às posições políticas de Sartre / This study investigates Jean-Paul Sartre‟s political positions and their relationship with the Third World, between 1947 and 1979. Generally speaking, this research aims to establish a possible link between the historical context – the postwar world, the descolonization wars, the rising of third world countries, the French political and intellectual setting – and Sartre‟s trajectory. More accurately, this investigation, above all, aims to analyse by means of documental sources, the problems that the Third World – The Algeria War (1954-1962), the Cuban Revolution (1959) and the Vietnam War (1946-1975) – bring forward to Sartre‟s political positions

Orientador: Giséle Manganelli Fernandes / Banca: Manuel Fernando Medina / Banca: Álvaro Luis Hattnher / Resumo: Este projeto examina as maneiras pelas quais a obra The Short-Timers (1979), de Gustav Hasford, e o filme Full Metal Jacket (1987), de Stanley Kubrick, revisitam a Guerra do Vietnã, dessacralizando a História oficial. Em seu romance The Short Timers (1979), o veterano Gustav Hasford narra a trajetória de um soldado e de seus companheiros durante o treinamento militar e o posterior combate no Vietnã. Tomando a perspectiva desse soldado, o narrador focaliza esse episódio da história dos Estados Unidos de forma diversa da tradicional; isto é, denunciando as angústias e dores vividas pelas tropas no treinamento básico e na batalha. Stanley Kubrick dirigiu a adaptação dessa narrativa para o cinema que recebeu o título de Full Metal Jacket (1987). Nela podemos notar como a guerra é revisitada de modo crítico. O cineasta apresenta as narrativas pessoais da personagem principal. Para analisar as obras literária e cinematográfica, serão utilizados textos teóricos acerca da relação entre Literatura e História (Hutcheon, 1989, 1993; White, 1985; Benjamin, 1985) e sobre Pós-Modernismo (Jameson, 1997; Hutcheon, 1989). Com base nestas teorias, propomos verificar como a Literatura e o Cinema representam a Guerra do Vietnã na contemporaneidade, mostrando diferentes pontos de vista sobre o conflito / Abstract: This project investigates the ways in which Gustav Hasford's The Short-Timers (1979) and Stanley Kubrick's Full Metal Jacket (1987) revisit the Vietnam War rethinking official History. In his novel, The Short-Timers, the Vietnam veteran Gustav Hasford narrates the path of a soldier and his mates during military training and later combat in Vietnam. Taking this soldier's perspective, the narrator focuses on this episode in American history differently than usual; that is, calling attention to the anguish and pains that the troops go through on training and in battle. Stanley Kubrick directed the adaptation of this work into the film Full Metal Jacket, in which can be noticed how war can be critically reevaluated. The filmmaker presents personal accounts by the main character. For the analyses, theories about the relationship between Literature and History (Hutcheon, 1989, 1993; White, 1985; Benjamin, 1985) and Post-Modernism (Jameson, 1997; Hutcheon, 1989) will be used. Based on those theories, we propose to investigate how Literature and Cinema represent the Vietnam War showing other points of view about this conflict / Mestre

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Beginning in 1954, the United States Army attempted to build a viable armed force in South Vietnam. Until the early 1960s, other areas commanded more American attention, yet this formative period was influential in later United States involvement in Vietnam. This thesis examines United States advisory efforts from 1955 to 1960 by analyzing the tenure of Lieutenant General Samuel T. Williams as Chief of the Military Assistance Advisory Group in South Vietnam. During Williams's tenure, the communist forces in the north began the guerrilla insurgency in earnest. Williams's failure to respond to this change has been justly criticized; yet his actions were reflective of the United States Army's attitude toward insurgencies in the late 1950s.

On 23 April 1964, five months after assuming the office of President of the United States, Lyndon B. Johnson launched the "More Flags" program as United States policy. While the publicly stated purpose of.the "More Flags" program was to obtain as much non-military free world aid for the Republic of Vietnam as possible, the program's principle goal centered around Lyndon Johnson's desire to obtain an international consensus for America's policies toward Vietnam and Southeast Asia. The "More Flags" program continued to serve both goals for the remainder of Johnson's presidency. Although started with high expectations of success, the "More Flags" program never succeeded in achieving the levels of international cooperation Lyndon Johnson desired. In fact, the program's significant lack of success necessitated a number of changes, during the program's first year, in both its stated goals and in the methods used to prosecute it's implementation. The most important of these changes would be Washington's use of the program's beneficent objectives to mask it's use as the means through which the United States would purchase mercenary troops to fight in South Vietnam. "Mercenaries in Service to America: The 'More Flags' Foreign Policy of the United States," presents the available history of the "More Flags" program during the years of the Johnson Presidency, with an emphasis on the documentation of the program's use as a disguise for America's obtaining mercenary forces from the Republic of Korea, the Philippines, and Thailand. The non-mercenary troop contributions from Australia and New Zealand are likewise examined. The majority of documentary evidence comes from the original sources documents in the Lyndon Baines Johnson Presidential Library in Austin, Texas.

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This essay investigates how the United States has been portrayed by Swedish artists in the 1960´s and 1970’s. The aim is to discover what signs and attributes these posters utilize and how these signs and attributes given to America is reflective of the culture and conception of America in Sweden during this time period. Firstly, using Mieke Bal and Norman Brysons semiotic methodology, presented in Semiotics and art history from 1991, to analyze the signs and connect them to the right contexts in each poster. Secondly, to identify reoccurring themes and conceptions about America, visual culture theory based on Nicholas Mirzoeffs An introduction to visual culture will be used.  In these posters USA is visualized in different ways, sometimes expressively with just the text “USA”, but most commonly through representative signs likes the American flag, presidents and pictures from Vietnam. USA is depicted as an imperialistic, capitalistic, militaristic nation with a double standard. The posters are created and contributes to a visual culture. And these negative signs are reflective of the Swedish culture and opinions about the United States that could be found during this time period. The political and social commentary in art is also reflective of the 1960´s and 1970´s Sweden and the changing landscape of the Swedish artworld.