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| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | ||||
| Alternate chronological arrangement (through July 2003) | |||||||||||||||||||||||||||||
Compiled by John K. McAskill, Systems Librarian, La Salle University
[Americans cannot readily distinguish between the imaginary Vietnam created by Hollywood and the real place. Hollywood has failed to present Vietnam as a real place and the Vietnamese as human beings. The Vietnamese are presented either as stereotypical enemies or victims]
[Film as war propaganda with reference to four unnamed North Vietnamese documentary films then circulating and To the shores of Hell which was made with U.S. Defence Dept. assistance]
[Discusses The Green berets and films in development]
["Reflecting the visceral frustration of the American people over the conflict that no one wanted, the American cinema is sitting this one out.". Discusses The Green berets, Loin de Vietnam, Vivre pour vivre, and a Samuel Fuller project called "The rifle"]
[Chiefly brief descriptions and analyses of 23 films later published in Vietnam War films]
[Analyzes the evolution of depictions of women in Vietnamese and American dramatic films and television programs of the Vietnam wars. Vietnamese films developed from simplistic propaganda to more social realism in their depictions of women. American films went through a similar evolution in female images, from marginal characters to amazon warriors. Bibliographical references. In French]
[Unpublished paper read at the Popular Culture Association annual meeting, Louisville, March 1992]
[Unpublished paper read at the Popular Culture Association annual meeting, San Antonio, March 1991]
[Examines the depiction of Asians in McCabe and Mrs. Miller, Chinatown and The Deer hunter, three films which offer a critique of the dominant ideology and its handmaiden, the classical Hollywood paradigm. Finds that while the latter two films demythologize the dominant ideology, The Deer hunter uses classic Asian stereotypes. Bibliographical references]
[Consideration and avoidance of moral questions raised by the Vietnam War in literature, in the first wave of Vietnam War films, and by veterans]
[On the state of the film industries of Laos, Cambodia and South Vietnam]
[Argues that the Vietnam War is a cultural crisis that continues to permeate American life and analyzes how popular culture has attempted to resolve what the American military and political system could not. The fourth and fifth chapters of the the thesis describe Hollywood's attempts to represent the war in films from the 1960s thru the 1980s. Concludes with the argument that the most recent representations of the war, especially on television, do not merely reflect the dominant ideology but provide symbolic resolutions to real social and political problems. Bibliographical references]
[Revision of thesis. Cinematic representations of the war have molded contemporary understanding of the Vietnam War. Chapter 4, "Vietnam in Hollywood," discusses eight major films. Chapter 5, "Melodramatic excess: The body in/of the text," examines the television series China Beach and Tour of duty. Bibliographical references and index]
[How and why US film and television habitually use melodrama when depicting the Vietnam War. Bibliographical references]
[Against the background of the Persian Gulf War, cites several Vietnam War films to describe how war films provide the closure that is seldom available in real life]
[American cinema's current concentration on the contentious aspects of the 1960s and 1970s away from the battlefield in Vietnam comparing 1969, and Running on empty with the earlier Return of the Secaucis 7, and The big chill]
[How the outcast war veteran appeals to both left and right and has been used in films like Escape from New York, Breaker Morant, and Cutter's way]
[Vietnam had an impact on World War II films produced while it was in progress, but aside from the Green Berets, the guilt and anger of the Vietnam experience was not addressed directly in film until after the war was over. After the Tet Offensive of 1968 Hollywood turned to producing counterculture films with a subtle anti-war messages. After the fall of Saigon, the first low-budget Vietnam combat films began to appear followed by a number of significant films of the “first wave” in the late 1970s and the “second wave” of film and television productions of the 1980s. War film chronology and bibliography]
[Discusses nine Vietnam War related films. Bibliographical references and index]
[Describes varying portrayals of soldiers and veterans. Generally movies about WWII and Korea portray veterans as dedicated and patriotic, but with few exceptions, Hollywood has proven itself incapable of treating the Vietnam War and its veterans fairly]
[On the tenth anniversary of the fall of Saigon, the author considers how the war is remembered in film, television and elsewhere]
[Describes the first wave of Vietnam War films which began in the fall of 1977 with Heroes and concludes in 1979 with The deer hunter and Apocalypse now]
[American involvement in Vietnam began and ended in a cultural era which the authors describe as the "second inner revolution" which changed the social structural context of the modern American personality, producing a "new American individualism." Several films and television programs are cited to illustrate the clash between the new individualism and the Vietnam War. Bibliographical references]
["The '60s' of post-1960s Hollywood film is a romantic and marginalized period in American history. By focusing on individual relationships and family strife and settling on a checklist of conventional signifiers of the era, Hollywood films set in the '60s translate the social and political events of the day" as background for coming-of-age stories. Post-1960s films feature images of '60s leftovers as "the dropped-out, drugged-out and the sold out." '60s people are characterized as naieve, irrelevant or ridiculous. Filmography of 28 films]
[Reasons why American films avoided the Vietnam War until the late 1970s. In Polish]
[Demonstrates "how an entire American generation had its conceptions of the Vietnam War shaped less by Danang and Khe Sanh than by Hollywood." Bibliographical references]
[In Russian]
[The Vietnam War has been described as America's first television war, however, in the decade after the war, there was relatively little direct representation of the war in popular mainstream film or television. This changed in 1986 with the release of Platoon which initiated a five year period of intense popular media representations and national discourse about the war. A general view of the war developed during this period, with dominant and alternative characteristics, which has been repeated and reproduced throughout American culture since. Focusing on the 1986-91 period, the author analyzes the key representations of the war, as well as their historical, political, economic and ideological contexts. He draws conclusions from this analysis concerning the relationship between popular media, society and culture. Bibliographical references]
[Popular music and the war generally and in Vietnam War films. In Italian]
[Discusses the rising interest in the Vietnam War since the 1982 opening of the Vietnam Veterans Memorial. Quotes a number of Vietnam War authors, scholars and veterans and makes references to recent films]
[Uses The year of living dangerously, Under fire, The killing fields, and Salvador to illustrate how texts are used as a site between competing ideologies to influence meanings of the past in the preent for the future. Shows how the films reflect changes in the national identity since the Vietnam War using a rhetorical studies approach to studying popular culture outlined by Barry Brummett. Bibliographical references]
[Uses Full metal jacket, Heartbreak Ridge, Lethal weapon, Platoon and Top gun as examples. Bibliographical references and index]
[Surveys the depiction of women in Vietnam War films with particular attention to Dogfight by Nancy Savoca]
[Focuses on Apocalypse now, Hamburger Hill, The Hanoi Hilton, Platoon, and Unnatural causes and includes interviews with Lionel Chetwynd, John Milius, Blue Andre, George Schaefer, Oliver Stone, and Jim Carabatsos. Bibliographical references]
[A survey of the Vietnam War in cinema thru 1985. Includes references to documentary films. In Spanish]
[A general review of the war in film and literature with a focus on Coming home and The Deer hunter]
[Captivity narratives, featuring white men rescuing white women held captive by Indians, were a primary theme of nineteenth century dime novels and early western films. With the decline of the western film, the captivity narrative's racial and cultural conflicts have been restaged in South America, Vietnam, and the streets of urban America. These films reveal post-war America's continuing concern with the challenges which the civil rights movement and feminism pose to the legitimacy of the white male hero. The author's Chapter Four argues that Martin Scorcese's Taxi driver is a postmodern revision of the captivity narrative. Chapter Five analyzes the pervasive use of the captivity plot in Vietnam War films to recuperate the hero's narrative authority and rationalize the American soldier's participation in the war. Bibliographical references]
[Syllabus for a course at Middle Tennessee State Univ., Spring 1993. Includes references to both dramatic and documentary films]
[Contrasts World War II and Vietnam film treatments and analyzes the second wave of Vietnam War films. In talking to veterans, the author realized "that most Vietnam movies have been made for them." Rather than make the war "come out better," Hollywood continues to turn out the same two stories (terrified and confused men "mired in the grime and misery of a Vietnamese jungle" or veterans "wandering aimlessly through contemporary America") These sentimental treatments of soldier's experiences will never get the story told]
[In the general context of American war films, finds the Vietnam films of the 1980s were a new hybrid which synthesized war, western and catastrope films into the MIA and POW sub-genres. Bibliographical references. In French]
[Representations of sex and women in 1980s Vietnam films. Bibliographical references. In French]
[Discusses the impact of the Vietnam War on western films with particular reference to Soldier blue, Little Big Man, Chato's land, and Ulzana's raid. In French]
[Examines the thematic functioning of American cinema, the ideological strategies used in response to the Vietnam War, and the reactions the war aroused in cinema. Bibliographical references. In French]
[Analyzes depictions of Vietnam veterans in American films. The images show resilience as veterans separated from society reconcile reality and nightmare through therapy and suffering. Discusses the documentary Soldiers in hidingand the dramas Distant thunder and Sons in detail. Bibliographical references]
[Describes plans of rival Australian production companies to produce a film about the battle of Long Tan. Neither film was produced]
[VVAW activities to counter the effects of recent pro-war films]
[Describes 1980s filmmakers rejection of the Calley image of the American male psyche run amok. First they portrayed Vietnam veterans as warrior-heroes who became scapegoats thru no fault of their own. Finally with Rambo: First blood, part II they avoided reality, romaticized the warrior, mythologized warfare, and reestablished American soldiers as geopolitical giants. Bibliography]
[Revision of 1992 thesis. Bibliography and index]
[Examines forces shaping Vietnam War film narratives during and after the war. The lack of combat films during the war years limited Hollywood's treatment of the war to allegories and stories about veterans and the protest movement. After the war, the structure of the story became dependent on the soldier's tour of duty and personal experience. Romance and wilderness themes from earlier films were developed and Vietnam gradually became a romance landscape through which soldiers traveled for their tour of duty. Using the veteran's experience as a focal point simplified the war's complexities. The veteran's victory over the jungle, the natives, the protestors and weak-willed leadership become America's victory in Vietnam. Concludes with a study of the Rambo character, a symbol of redemption for veterans and America and a reunion of the figures of warrior and king from earlier war films. Filmography and bibliography]
[Examines love triangles in three first wave Vietnam films: Coming home, The deer hunter, and Who'll stop the rain. Bibliographical references]
[Describes the state of movie going in Vietnam and the distribution of American
films about the war there. Also describes Vietnamese films to be shown at the
Toronto Film Festival, and the official Vietnamese response to Cyclo]
[General analysis of the Vietnam War in American film with concentration on Hearts and minds and Milestones. In French]
[American cinema has the capacity to speak to political reality and integrate this in its productions. Numerous films have been effected by the military and political fiasco in South East Asia. Discusses a dozen such films made since the end of the war. In French]
[Analysis largely based on Jeanine Basinger's study of war film from the 1940s thru the 1970s (The World War II combat film : anatomy of a genre New York : Columbia Univ. Press, 1986) with reference to other Vietnam War studies and the argument over whether the Vietnam films constitute a genre of their own]
[Survey of documentaries, independent films, B-movies, and television films on the Vietnam War. In Italian]
[War films are tales of masculinity with themes of: boys becoming men, comradeship, loyalty, bravery and endurance, pain and suffering, and the horror and excitement of battle. But a number of popular films of the Vietnam War reveal a fractured masculinity, a masculinity under pressure, or one that has been found inadequate. Discusses Apocalypse now, Platoon, Full metal jacket, and Casualties of war. Bibliographical references]
[Divides the 28 feature films produced into three categories: films on history; films on revolution and resistance; and films on issues of present life. Describes several]
[History of animated films (both drama and documentary) in Vietnam]
[Reviews films produced following the 6th Party Congress under the "renovation of thinking and economic management' policy]
[Holliwood's depiction of the Vietnam War. In Vietnamese]
[Reviews the state of Vietnamese film production with brief reference to selected fiction titles]
[Reviews the state of Vietnamese film production with brief reference to selected fiction and documentary titles]
[Reviews the state of Vietnamese film production with brief reference to selected fiction titles]
[Brief history of Vietnamese (North) filmmaking since 1953]
[Compares and contrasts American films of the second wave with the Vietnamese films that toured the U.S. from 1987-on. Both tend to avoid political issues and explore the effect of the war on individuals. They explore efforts to "forge common bonds and a sense of solidarity (in the company of men for Hollywood films, in the context of village and family for Vietnamese films)." Contrasts the two film groups' treatment of women. American films use the exchange of women as the basis of male bonding. Vietnamese films have a less gendered more culturally determined sense of collectivity and women are more active and central agents in these films]
[Brief notes on Vietnamese films shown at the festival with a general overview of the state of Vietnamese film production. In French]
[From the 1940s thru the 1960s the film industry, in conjunction with the federal government, the military and other mass culture industries, produced mass cultural objects whose messages constituted a code for war. They laud the heroism of the warrior, the evilness of the enemy and the glory of war. In the 1960s, as many soldiers and veterans came to oppose the Vietnam War, they adapted the symbols and objects of mass culture. This contributed to the deconstruction of the mass cultural code for war. As the antiwar movement ended, American mass culture reconstructed the code. By 1982 the film industry had re-established the heroic warrior, the evil enemy and the glory of war. But the cycle of construction, deconstruction and reconstruction suggests that mass media/culture is far more contentious than had previously been believed. Vietnam War G.I. and veteran resistance to the the war had a lasting effect on mass media/culture. Bibliography]
[On the second wave of Vietnam War films. In America the subject still maddens and fascinates. In French]
[Chiefly his Chap. 8 "High-tech heroics and other concerns" which discusses a number of films with disabled Vietnam veteran characters. Bibliographical references and index]
[Places Hollywood treatment of disabled Vietnam vets in historical and cultural context. Compares this with treatment of the subject in WWII films which show more awareness than escapist Vietnam films. Bibliographical references]
[These films provide clear-cut distinctions between good and evil and easily recognizable 'innocent' heroes. They meet the popular cultural needs created by the Vietnam War and Watergate. Bibliographical references]
Reprinted: Cinema, colonialism, postcolonialism : perspectives from the French and francophone world (edited by Dina Sherzer) Austin, TX : Univ. of Texas Press, 1996. (p. 120-46)
[Analyzes recent interest in Indochina by French writers and filmmakers including the films Indochine, L'amant and Dien Bien Phu. Bibliographical references]
[John Wayne's World War II films helped form American expectations for Vietnam.
Vietnam continued as a Cold War fantasy in three periods of filmmaking about
the war: 1946 to 1968 (cold war and 'hawkish'); 1968-1978 (both pro- and anti-involvement);
and 1980-1990 (pro-involvement and neo-Cold War). Bibliographical references]
[An examination of films of the preceeding fifteen years that show the evolution of American values. Of the 34 films discussed in this chapter, 23 have Vietnam War connections. Many movies made since Vietnam question the American national myth and the values placed on patriotism and heroism. Resurgent nationalism is reflected in films of the late 1980s. Bibliographical references]
[Report on Vietnamese films shown at the festival of Pesaro in 1983. In Italian]
[Analyzes: (first wave) The Deer hunter, Coming home, Apocalypse now; and (second wave) Platoon, and Full metal jacket. Includes a selective filmography]
[Examines how the dominant role of Hollywood as a propaganda machine for molding public opinion during World War II was usurped by television after 1950. Unpopular wars in Korea and Vietnam led Hollywood generally to avoid those wars as subjects and Hollywood became heavily involved after Vietnam in anti-war themes. Bibliography]