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Compiled by John K. McAskill, Systems Librarian, La Salle University
[Analysis of depictions of Americans in Vietnam and Vietnam veterans as victims. In Italian]
[Analyses of 44 films omitted or released after the publication of Vietnam War films (1994)]
[Nine Vietnam War related films are in development following the success of Apocalypse now]
[Vietnam War inhibited Hollywood production of all war films, but eight new WWII films are now in production as well as films on other wars. Apocalypse now is the only Vietnam War film cited in the latter group]
[Relevant articles cited separately. Filmography and bibliography. In Italian]
[Examines 1960s culture and counterculture as expressed in music, literature and film. In two sections: the first concentrates on the 1960s and early 1970s; the second examines the impact of the war on Vietnamese artists and writers, on Americans living in Vietnam and on women in Vietnam. Relevant articles cited separately. Index]
[Essays which analyze the fictional, mythical and visual representations of the war in various media and question their value as historical truth. Relevant articles cited separately. Index]
[The Vietnam War has inspired dozens of Vietnamese films since 1975, all dealing with heroic aspects. Four recent films, however deal with the impact of the war on soldiers and their families. The films include You'll come back and People looking for the past]
Review essays
Young, Marilyn B. "Book reviews: … The Vietnam War and American culture" Cineaste 19/2-3 (1992), p. 85-6.
[see Vietnam War films below]
[The major filmography on the subject with coverage through the early 1990s. The editors used the following criteria to identify "Vietnam War" films: western films considered allegories for the war, any films with images of war in Southeast Asia during the French or American involvement; any depictions of veterans who fought during this period; any films about the French or American homefront during the period which refer to the war; films of the antiwar movements; any films with images of refugees from the conflict; and films dealing with reconstruction after the war. Individual film entries include: cast, credits, themes and keywords, plot synopsis, and reviewer's comments. Appendixes: chronological listing; country of origin; directors; screenwriters; selected actors]
[Filmography]
[Films about the war made in the US thru 1981. In French]
[Motives behind the current wave of war films. In French]
[Reacts to Heaven and earth and speculates on the future of Vietnam films in general]
[Studies the changing image of the veteran in feature films including: biker, vigilante, caper, police, war, art, horror, comedy and melodramatic films. Filmography and bibliography]
[Revision of thesis. Filmography, bibliography and index]
[Profile of Dang Nhat Minh with his comments on Vietnam War films]
[Examines how film directors of the first wave of Vietnam War films have treated the subject. It is unclear why the Amerian film industry "could not bear to make films about the Vietnam war" while it was in progress. "Now that the war is over the young, and more radical of America's film directors have been catching up on lost time. Films about Vietnam veterans are now a regular part of the US film scene." Vietnam films released to date share a common view with those who protested against the war. "The approach is self centered and isolationist." Also makes references to the documentaries Hearts and minds and A face of war]
[Catalog of an art exhibition and film series]
[Reviews: Silberman, Rob]
[Vietnam veteran, former Navy Secretary and novelist gives his impressions of Vietnam War films]
[In German]
[Lists 12 films used to teach the Vietnam War with lessons students can draw from each]
[Discusses the documentary Hearts and minds and Julian Smith's Looking away : Hollywood & Vietnam. In Dutch]
[Bibliography]
[Introductory essay for an issue with 13 articles on Vietnam War films. The Vietnam War made it necessary for Hollywood to invent a new kind of war movie - the story of the mythological journey. Joseph Campbell (in his Hero with a thousand faces) has described this mythological journey as a monomyth, which is told in various forms in various cultures but always follows the same pattern: A hero ventures forth from the world into a region of supernatural wonder, fabulous forces are encountered and a decisive victory is won. The hero comes back from this adventure with the power to bestow boons on his fellow man]
[Although common themes and motifs exist in Vietnam films, they do not have
the formal conventions which characterize a genre. Bibliographical references]
[Reprinted without bibliographical references in Jason, Philip K. "The
Vietnam War in literature and film" Contemporary literary criticism.
1995 yearbook Detroit, MI : Gale, 1996. (vol. 91, p. 412-16)]
[Discusses the problem of defining what is a Vietnam War film. Finds that while "generic conventions do not provide clear classification for Vietnam War films, five narrative structures do." These are: pre-The Green Berets; the Vietnam veteran/coming home; the effects film; incountry films; and the revenge film. Using these five narrative formulas, the filmography classifies (selectively) American fictive Vietnam War films. Bibliographical references]
[Analysis of three representative Vietnam War films (The Green Berets, Apocalypse now, and The killing fields) to determine if there is a common underlying mythic structure and if these films constitute a genre. The films were selected because each represents a distinct phase of the war. They were analyzed on three levels: environment, character and story-motif. The author found there were identical underlying structures which fit Levi-Strauss's structural theories. Bibliography]
[Survey of some of the major examples of the genre with an emphasis on the Rambo films]
[On changing attitudes towards the representation of the war on film]
[Survey of US films of the 60s and 70s featuring student demonstrations. In Polish]
[Brief analysis of Vietnam War films through the second wave. In Norwegian]
[In an interview at the Moscow Film Festival, actress Tra Giang discusses the role of women in North Vietnam and the difficulties of filmmaking there]
[The Vietnam War's effect on 1970s horror films explicitly and implicitly in style and content. Bibliographical references]
[Discusses the differences between films of the second wave of Vietnam War films and those of the first (1970s) wave. Eighties films have a more conservative bias reflecting the ideologically simplistic world view of Reagan-Bush. Bibliographical references]
[Most representations of the Vietnam War in literature and film have been American or European. Vietnamese films and literature on the conflict have rarely been distributed outside Vietnam. During the past two decades, however, Hong Kong's cinema produced many films which deal directly or indirectly with the conflict. Most Hong Kong commercial representations "resemble their American counterparts with action, rather than verisimilitude, high on the agenda." (leaf 2). Some films indulge in familiar stereotypes. Generally, Hong Kong commercial films tend to view the Vietnamese as totally 'other' and dangerous. Bibliographical references]
[A review of the history of films about the war focusing on the "dark, ambivalent or pessimistic chords" in these films. Since the "ludicrous" Green Berets, " 'positive' Vietnam films have been almost non-existent." The release of Oliver Stone's Heaven and earth, however, may point "a way out of the dark" by focusing on Vietnamese civilians and viewing the world through their eyes]
[Illustrates how the Vietnam War has been misrepresented in literature and film. The emphasis is on literature with just one chapter analyzing films. Filmography, bibliography and index]
[Report from a San Diego meeting of the American Studies Association where Jill S. Berman, William J. Palmer and others presented papers showing that television and film coverage of the war was slight until after the Tet Offensive. In 1985 the mass media have caught up with Vietnam, but most productions include distorted stereotypes, particularly of veterans]
[Examines how depictions of Vietnamese (as yellow peril, super soldier, or marginal other) in Vietnam war films have been used in an essentially American discourse to answer questions about what the war meant for the U.S. Using elements of post-colonial methodology, the author examines nine films including: The Green Berets, The deer hunter, Uncommon valor, Rambo: first blood part II, Go tell the Spartans, Apocalypse now, Hamburger Hill, Platoon and Full metal jacket. Bibliographical references]
[Although blacks were more likely to be drafted, faced discrimination at home and abroad, and made up a disproportionate number of American casualties in Vietnam, “Hollywood Vietnam War films have tended to marginalize their stories…” (p. 38). However, some Vietnam War films can provide a glimmer of the African American Vietnam experience. Analyzes The Green berets, The boys in Company C, Apocalypse now, Platoon and Hamburger Hill. Bibliographical references]
[The 1958 movie adaptation of The quiet American reversed the novel's criticism of U.S. intervention in Vietnam, but both versions employ the same stereotypical gender traits to identify the U.S. as "masculine" and Vietnam as "feminine." The gendered narrative structure of the film became a model for subsequent Vietnam War narratives and films. The author concludes with a narrative strategy to 'break the codes' of hierarchical, exclusionary structures. Filmography (29 films) and bibliography]
[Analyzes seven of the fourteen Vietnamese feature films screened at various
venues in New York from 1994-1997. These seven were selected because they do
not appear in the Vietnam war films filmography (Malo and Williams) nor in other
major publications in English. Follows the Vwf format. Bibliography]
[Translated into Italian as "Orgaizzazione del settore Cinema e Televisione in Vietnam" in Mostra internazionale del nuovo cinema (19th : 1983 : Pesaro, Italy). Cinemasia. Venice : Marsillo, 1983. [v. 1. Thailand, Vietnam, Philippines, Indonesia] (p. 61-71)]
[Review essay on Inventing Vietnam; From Hanoi to Hollywood; and The Vietnam War and American culture)
[Most Americans only know Vietnam from what they have seen in the movies. Revisionist historians and the political and military establishments of the Reagan-Bush era have made "an enormous effort to overcome the reluctance of the American public to use military force as an instrument of policy… Yet the fragmentation of national identity that occurred during the Vietnam War has not been, indeed cannot be, mended…" (p. 255) Bibliographical references]
[Analyzes a number of films on the Vietnam War with emphasis on the then unfinished
Apocalypse now. In French]