Hernandez 1 Adrian Hernandez Gango-2 9/27/13 Behind Hollywood Lines: The Evolution of American War Cinema In order to keep

their films profitable in an incredibl competiti!e market" film st#dios $rite their pict#res to reflect the commonl held !al#es of the mo!ie-going p#blic% &o!ies that are seen as radical or non-conformist are often marred b poor ticket sales and home !ideo performance' (#alities $hich" considering the incredible e)pense of making a film" are often fro$ned #pon% *ith this in mind" it is eas to see $h cinema" more so than an artistic medi#m before it" ser!es as a mirror to the c#lt#re in $hich it is created% It is tailor-made to profit from that c#lt#re% +o$here is this more e!ident than in the case of $ar mo!ies" $hich are largel prod#ced b established st#dios d#e to b#dgetar demands% A genre that started $ith simple propaganda shorts (#ickl e!ol!ed into the artic#lated fear and rage of the American people" each change adapting to the s$ings in p#blic opinion to$ards $arfare% *hile there are certainl e)ceptions to this trend" m#ch of $ar cinema can be #sed as a barometer to ga#ge the common !al#es of the American people d#ring eras of histor % An e)ploration of $ar film from its silent roots to modern da aspirations can f#rther demonstrate this pattern% ,he earliest $ar films attempted to re-imagine America-s stored histor % .%*% Griffith-s /0irth of a +ation 119123"4 for e)ample" re-told the 5i!il *ar from the point of !ie$ of the 5onfederac " portra ing 6l# 6l#) 6lan members as heroes betra ed b rog#e African-American soldiers 1.irks3% *hile the +AA57 protested the film #pon its release" it (#ickl became the biggest blockb#ster of the silent era 15hapman 383% 9ilm st#dios thereafter took note and #sed

Hernandez 2 the film as proof of the profitabilit of $ar epics% Ho$e!er" instead of #sing past $ars" filmmakers t#rned to the earliest stages of **I for inspiration% *hile America $as still $ear abo#t in!ol!ement in the $ar" an #ndeniable" $armongering ma:orit had beg#n to s#rface 1/,imeline of ;%<% *ars and 5onflicts43% In response" the =itigraph 9ilm 5ompan prod#ced their silent drama" /,he 0attle 5r of 7eace"4 in 1912" depicting an America completel o!ertaken b a hostile >#rope 1?ollins @23% <imilar propagandist efforts appeared in 191A" closel follo$ing the sinking of the Lusitania 1/,imeline of ;%<% *ars and 5onflicts43% ,he films /B!er the ,op4 and /,he <inking of the C#sitania4 arg#ed for increased ;%<% in!ol!ement in the $ar as re!enge for the attack" portra ing Germans as fiendish in the process 1?ollins 2@3% ,he same ear" .%*% Griffith ret#rned $ith /Hearts of the *orld"4 an epic melodrama abo#t a o#ng $ar recr#it-s str#ggle behind enem lines 1.irks3% Again" Germans $ere portra ed as malicio#s /H#ns4 capable of mass sla#ghter $itho#t remorse% ,he film-s clima)" for instance" finds a large gro#p of Germans destro ing a !illage $itho#t an conte)t or reason" a random pattern of destr#ction $hich persists #ntil the film-s ending 1?ollins 293% /Hearts of the *orld4 is also notable for being one of the first $ar mo!ies to feat#re battle footage from a li!e $ar front 1/*ar 9ilm43% ,he first ma:or $ar doc#mentar " /& @ Dears in German "4 also premiered in 191A 1.irks3% *hile the film has since been pro!en to be historicall inacc#rate" its s#ccess sho$ed the gro$ing American s#pport for battle against the hated Germans 1?ollins 8A3% After the Armistice in 191A" $ar cinema became more like a f#neral hall than a political platform% *ith 37 million dead" filmmakers began to foc#s on the h#man side of $ar" crafting stories in $hich $ar $as a backdrop to more recognizable romance and action stories 1/,imeline of ;%<% *ars and 5onflicts43% &G&-s highl s#ccessf#l /9o#r Horsemen of the Apocal pse

Hernandez 3 1192134 $as the first of this ne$ $a!e" casting pop#lar actor ?#pert =alentino in a tale of forbidden lo!e across enem lines 1/*ar 9ilm43% ,his film is also note$orth for being one of the first commerciall s#ccessf#l anti-$ar films in American cinema" pa!ing the $a for later" anti-$ar 0est-7ict#re $inners /*ings 1192A34 and /All E#iet on the *estern 9ront 1193F34 1.irks3% *hile the harsh and bitter realit these films e)posed $as #ndeniabl tr#e" a#diences" not $anting to reminisce on the horrors of $ar" flocked to more con!entional $ar-ad!ent#re stories instead 16al!an3% ,his trend contin#ed into /the ,alkies"4 $ith simple action stories like /,he 5harge of the Cight 0rigade 1193834and /,he .a$n 7atrol 1193A34 becoming blockb#ster hits in their da 1.irks3% *hile idealism $as taking hold of the cinema screen" the tides of $ar $ere once again t#rning for America% +azi German " ha!ing :#st risen to po$er" seemed to ha!e >#rope on lockdo$n% ,he ;%<%" in the interest of sta ing ne#tral" adapted a polic of isolationism" foc#sing on its o$n internal political iss#es before >#ropean ones 1/,imeline of ;%<% *ars and 5onflicts43% 9ilmmakers" seeing an opport#nit to reflect on 1and profit from3 the p#blic-s #ncertaint abo#t entering **II" prod#ced a pop#lar series of +azi-themed espionage thrillers 1/6al!an43% /5onfessions of a +azi <p 119393"4 for instance" feat#red a +azi espionage ring infiltrating the ;nited <tates go!ernment 1.irks3% ?ecentl immigrated filmmaker Alfred Hitchcock made /9oreign 5orrespondent 119@F34 and /*aterloo 0ridge 119@F3"4 $hich ser!ed as $arnings on the nat#re of >#rope-s political climate 1/6al!an43% ,his +azi-fi)ation e!en spread into the $orld of comed % 5harlie 5haplin-s /,he Great .ictator 119@F34 took direct stabs at Hitler himself" portra ing him as oafish and ineffecti!e 15hapman 1123% Generall speaking" Germans in these films $ere portra ed $ith e)aggerated caricat#resG fearsome and

Hernandez @ #ntr#st$orth " or lo#d-mo#thed and ridic#lo#s% Americans" on the other hand" $ere portra ed as idealistic" mild-mannered innocents or $ar heroes 1?ollins 1273% ,his black-and-$hite o#tlook" both in film and in the p#blic" contin#ed #ntil .ecember 7" 19@1" $hen Hapanese forces attacked a ;%<% na!al base in 7earl Harbor" Ha$aii 1/,imeline of ;%<% *ars and 5onflicts43% *ord of the attack de!astated Americans" and it no$ seemed that $ar $as not onl ine!itable" b#t also personal 1?ollins 17F3% ,he mood of Holl $ood pict#res changed drasticall d#ring this timeG man films became $ar-themed" ser!ing as propaganda to enlist the film-going p#blic" and often feat#red distra#ght" morall ambig#o#s characters" representing the attit#des of the co#ntr at large 1.irks3% /5asablanca 119@23"4 for instance" told the stor of a $andering renegade-s decision to enlist or li!e $ith the lo!e of his life 15hapman 2F23% ,hese ne$ /home front dramas"4 as the came to be called" p#t less of an emphasis on combat than pre!io#s $ar films had done" et still prod#ced record profits for the film ind#str 1/*ar 9ilm43% 9ilms that tried to depict the harsher" moodier tr#ths of the $ar" like /,he 0est Dears of B#r Ci!es 119@234 and /,he &en 119@A34Iboth of $hich foc#sed on the diffic#lties of !eterans and paraplegics read:#sting into general societ I$ere often greeted $ith less commercial s#ccess 15hapman 2123% *hile m#ch of **II cinema $as flag-$a!ing" there $as also great care paid to realism% /*ake Island 119@23"4 for e)ample" $as a strictl fact-based tale of a gro#p of &arines $ho battled Hapanese troops shortl after 7earl Harbor 1?ollins 23F3% /<o 7ro#dl *e HailJ 119@334 and /5r Ha!oc 119@334 $ere among the first films to sho$ $omen in realistic roles as ri!eters" combat-n#rses" and !ol#nteer soldiers" instead of the t pical /girl-in-$aiting4 roles that had been formerl assigned 1.irks3% >!en the appearance of $ar films began to change d#ring **II% ,echnological ad!ances allo$ed filmmakers to shoot in h per-realistic" doc#mentar -like

Hernandez 2 (#alit " and the portabilit of cameras meant combat footage co#ld be easil shot from a distance 1*inters3% ,hese techni(#es $ere #sed in combat-hea! action $ar pict#res" most notabl the $ork of actor Hohn *a ne 1.irks3% ,his ne$ attention to detail" some arg#e" might ha!e also come from st#dio desire to sho$ Americans the /real tr#th of $ar"4 perhaps $anting to infl#ence their !ie$s on the ongoing **I conflict 1?ollins 2@F3% **II ended in 19@2 $ith Hapan officiall s#rrendering to the Allied forces 1/,imeline of ;%<% *ars and 5onflicts43% Holl $ood proceeded the fighting $ith a long period of silence% *ar films $ere made in significantl less (#antit " and $hen the $ere made" the paid caref#l trib#te to the cas#alties and historical e!ents the $ere e)posing 1?ollins 2@A3% 9ilms like /,he African E#een 119213"4 /<talag 17 119233"4 and /?etreat" Hell 1192234 acted as patient meditations for a co#ntr in mo#rning" and $ere often !er commerciall s#ccessf#l as a res#lt 1/*ar 9ilm43% *hile America entered the 6orean *ar in the 192F-s and the 5old *ar e!en earlier" filmmakers remained occ#pied $ith **II almost a decade after Hapan-s s#rrender 1/,imeline of ;%<% *ars and 5onflicts43% *hen critical film did emerge abo#t the ne$ $ars America had entered" it often came in the form of comed or satire% <tanle 6#brick-s /.r% <trangelo!eG Br" Ho$ I Cearned to <top *orr ing and Co!e the 0omb 1198@3"4 for e)ample" hea!il criticized the insanit of the &%A%.% 1&#t#all Ass#red .estr#ction3 agreement America held $ith <o!iet ?#ssia 15hapman 27F3% ,he film e!en took contro!ersial :abs at go!ernment and militar officials" impl ing that /the reason for KtheirL po$er h#ngr nat#re $as a deep" #nconscio#s desire for se)#al interco#rse4 1?ollins 28@3% 9o)-s massi!e bo)-office s#ccess /&%A%<%H% 1197F3"4 $hich follo$ed a mobile infantr hospital on 6orea-s 3Ath parallel di!ision" took $ar satire to an e!en bleaker e)treme% ,he film-s theme song" /<#icide is 7ainless"4 spoke for the desperate" nihilistic attit#des the

Hernandez 8 6orean *ar $as slo$l breeding 1?ollins 29@3% ,he film itself anal zed the $ar from the perspecti!e of t$o" co#nterc#lt#re s#rgeons /tr ing to remain sane4 in the conflict" a !er h#ge leap from the traditional heroes of $ar cinema 15hapman 29F3% America officiall entered the $ar in =ietnam in the earl 198F-s" tho#gh it had been in!ol!ed for a longer period 1/,imeline of ;%<% *ars and 5onflicts43% Interestingl " st#dios onl prod#ced one film d#ring America-s actual in!ol!ement in =ietnamG Hohn *a ne-s /,he Green 0erets 1198A34 1.irks3% 5riticized for being horribl :ingoistic and stereot pical" its fail#re pro!ed that America-s !ie$ to$ards $ar cinema had changed% It seemed" in other $ords" that people no longer $anted propaganda% Dears after =ietnam had passed" filmmakers felt it $as finall time to take a fair look at the str#ggle thro#gh cinema% /,he .eer H#nter 1197A34 and /5oming Home 1197A3"4 both Academ A$ard $inning /home front4 dramas" sho$ed the distressing ps chological and ph sical effects of =ietnam on a gro#p of idealistic o#ng soldiers 1?ollins 32F3% /Apocal pse +o$ 1197934 took this portra al f#rther b sho$ing =ietnam as a hellish landscape 15hapman 31F3% ,he film $as also told from the point of !ie$ of a 7,<. 17ost ,ra#matic <tress .isorder3 !ictim" making it one of the first portra als of the disorder on film 1.irks3% 9ilmmaker Bli!er <tone" $ho fo#ght a term of ser!ice in =ietnam" prod#ced a trilog of films--/7latoon 119A83"4 /0orn on the 9o#rth of H#l 119A93"4 and /Hea!en and >arth 1199334-dealing $ith =ietnam and the generations it effected" on both sides of the conflict 1.irks3% All of these films held to the common idea that =ietnam $as a senseless and cr#el act of go!ernment interference 15hapman 3133% As $riter 7eter 5% ?ollins sa s" /Do#-d be hard-pressed to find a film that spoke $ell of =ietnamJ 1?ollins 3F@34 *hile it is certainl too soon to :#dge modern cinema-s reflections on the &iddle >astern 5onflicts in Ira( and Afghanistan" the po$er of the cinema to reflect the common opinion cannot

Hernandez 7 be denied% 9rom hea!il biased to harshl realistic" $ar film has helped the American p#blic #nderstand realit and themsel!es thro#gh recognizable heroes and conflicts% 9ilm has also had an #n(#estionable impact on the p#blic-s reaction to $ar" $ith the earl " ad!ent#ro#s propaganda pieces of the 193F-s infl#encing o#ng men to enlist in $ar" and the later" darker portra als of the 197F-s keeping them far a$a from it% ,his interesting c cle bet$een the p#blic and the cinema re!eals a certain str#ggle the p#blic has al$a s had $ith $arG #nderstanding the tr#e" a#thentic realit of it% *hile a mo!ie might not perfectl em#late $ar" it is the closest man ha!e to e)periencing $ar firsthand% 9ilm incorporates man elements s#ch as lighting" acting" so#nd design" and cinematograph to bring its stories to life% In this $a film" more so than an other artistic medi#m" is an in!al#able tool to #nderstanding the nat#re of $ar itself%

Hernandez A *orks 5ited 5hapman" Hames% War and Film% CondonG ?eaktion" 2FFA% 7rint% .irks" ,im% M*ar and Anti-*ar 9ilms%M [Link]% American &o!ie 5hannel" n%d% *eb% 12 <ept% 2F13% 6a!lan" Andre$% M,he Cost Art of *ar%M [Link]% 5it Ho#rnal" 2FFA% *eb% 12 <ept% 2F13% ?ollins" 7eter 5%" and Hohn >% BN5onnor% Why We Fought: America's Wars in Film and istory% Ce)ington" 6DG ;ni!ersit of 6ent#ck " 2FFA% 7rint% M,imeline of ;%<% *ars and 5onflicts%M American![Link]% +%p%" n%d% *eb% 2A <ept% 2F13% M*ar 9ilm%M War Film% +%p%" n%d% *eb% 27 <ept% 2F13% *inter" &" Ha % M9ilming *ar%M .aedal#s 312F113G1FF% eCibrar % *eb% 12 <ep% 2F13%