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Ideological, dystopic, and antimytho...

Stegall, Elliott.

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Ideological, dystopic, and antimythopoeic formations of masculinity in the Vietnam War film.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Ideological, dystopic, and antimythopoeic formations of masculinity in the Vietnam War film./
作者:	Stegall, Elliott.
面頁冊數:	189 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-06(E), Section: A.
Contained By:	Dissertation Abstracts International76-06A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3681775
ISBN:	9781321547177

Ideological, dystopic, and antimythopoeic formations of masculinity in the Vietnam War film.
Stegall, Elliott.

Ideological, dystopic, and antimythopoeic formations of masculinity in the Vietnam War film. - 189 p.

Source: Dissertation Abstracts International, Volume: 76-06(E), Section: A.

Thesis (Ph.D.)--The Florida State University, 2014.

This item must not be sold to any third party vendors.

This dissertation argues that representations of masculinity in the Hollywood war/combat films of the Vietnam film cycle reflect the changing and changed mores of the era in which they were made, and that these representations are so prevalent as to suggest a culture-wide shift in notions of masculinity since the Vietnam War. I demonstrate that the majority of the representations of masculinity in the Vietnam War film cycle (an expression that includes all films on the Vietnam War but particularly those produced in Hollywood) have achieved mythic status---accepted truths---but are often exaggerated and/or are erroneous to the point of affecting how historical events are understood by subsequent generations. Such is the power of cinema. This dissertation, then, adopts a cultural-political-historical perspective to investigate Hollywood's virtual re-creation of the Vietnam War and its combat participants as dystopic, anti-mythopoeic figures whose allegiance to patriotism, God, and duty are shown to be tragically betrayed by a changing paradigm of masculinity and has thus created a new mythos of the American male which abides in the American consciousness to this day. All of which is to ask, why was there such a significant change from admirable cinematic representations of America as a nation that represents the ideology of freedom and liberty for all and U.S. soldiers as the hallmark of strength and goodness in the WW II movies to the mostly wretched representations of both in the Vietnam War cycle? While each chapter of my dissertation will attempt to identify plausible answers to these questions, I will also seek to explore why and how these alterations from the regnant traditions of American values---honoring the military, respecting the government and other traditions, such as the nuclear family, marriage as a sacred institution, monogamy as the respected norm, children as inviolable, gender roles as fixed, separation of the races, etc.---came to such a tumultuous head in the 1960s and resulted in the significantly altered constructs of values and masculinity that have become the norm in the late twentieth and early twenty-first century. In order to investigate historical cinematic representations effectively, it is necessary to consider the actual events of the times and challenge the subsequent various mythopoeic formations of the Hollywood Vietnam veteran.

ISBN: 9781321547177Subjects--Topical Terms:

2122736
Film studies.

Ideological, dystopic, and antimythopoeic formations of masculinity in the Vietnam War film.
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520 $a This dissertation argues that representations of masculinity in the Hollywood war/combat films of the Vietnam film cycle reflect the changing and changed mores of the era in which they were made, and that these representations are so prevalent as to suggest a culture-wide shift in notions of masculinity since the Vietnam War. I demonstrate that the majority of the representations of masculinity in the Vietnam War film cycle (an expression that includes all films on the Vietnam War but particularly those produced in Hollywood) have achieved mythic status---accepted truths---but are often exaggerated and/or are erroneous to the point of affecting how historical events are understood by subsequent generations. Such is the power of cinema. This dissertation, then, adopts a cultural-political-historical perspective to investigate Hollywood's virtual re-creation of the Vietnam War and its combat participants as dystopic, anti-mythopoeic figures whose allegiance to patriotism, God, and duty are shown to be tragically betrayed by a changing paradigm of masculinity and has thus created a new mythos of the American male which abides in the American consciousness to this day. All of which is to ask, why was there such a significant change from admirable cinematic representations of America as a nation that represents the ideology of freedom and liberty for all and U.S. soldiers as the hallmark of strength and goodness in the WW II movies to the mostly wretched representations of both in the Vietnam War cycle? While each chapter of my dissertation will attempt to identify plausible answers to these questions, I will also seek to explore why and how these alterations from the regnant traditions of American values---honoring the military, respecting the government and other traditions, such as the nuclear family, marriage as a sacred institution, monogamy as the respected norm, children as inviolable, gender roles as fixed, separation of the races, etc.---came to such a tumultuous head in the 1960s and resulted in the significantly altered constructs of values and masculinity that have become the norm in the late twentieth and early twenty-first century. In order to investigate historical cinematic representations effectively, it is necessary to consider the actual events of the times and challenge the subsequent various mythopoeic formations of the Hollywood Vietnam veteran.
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