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By Patricia Keeton

No different cinematic style extra sharply illustrates the contradictions of yankee society - notions approximately social classification, politics, and socio-economic ideology - than the struggle movie. This booklet examines the newest cycle of struggle motion pictures to bare how they mediate and negotiate the complexities of conflict, type, and a military-political venture principally long gone undesirable.

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Additional info for American War Cinema and Media since Vietnam: Politics, Ideology, and Class

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Homer 1990: lines 383–390) The accusations of Thersites and Achilles—the most humble and the greatest of the Greek warriors—have resonated ever since, both in literature and in film. War and Politics in Shakespeare The acts of subversion evidenced by Thersites and Achilles echoed not only in the early epics and plays of ancient Greece, but equally also in another Th e Wor k e r a s Wa r r ior 25 great period in Western literature. Of the 37 plays Shakespeare wrote, war figures into at least 20 of them, evenly divided between his histories and tragedies.

And all the jarheads killing and dying, they will always be me. We are still in the desert. ( Jarhead ) The desert, of course, is where we’ve witnessed scenes right out of Dante’s Inferno; where Sam Mendes, to his credit, re-created the infamous Highway of Death, one of the most nefarious events of the war: in two days, February 26–27, 1991, American and Canadian aircraft and ground forces attacked retreating and utterly defenseless Iraqi soldiers and civilians escaping Kuwait along Highway 80, resulting in hundreds of vehicles and their occupants being incinerated.

A racket is best described, I believe, as something that is not what it seems to the majority of the people. Only a small “inside” group knows what it is about. It is conducted for the benefit of the very few, at the expense of the very many. Out of war a few people make huge fortunes. I spent thirty-three years and four months in active military service and during that period I spent most of my time as a high-class muscle man for Big Business, for Wall Street and the bankers. In short, I was a racketeer, a gangster for capitalism.

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