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Compiled by John K. McAskill, Systems Librarian, La Salle University
[Catalog of Vietnamese films produced in the decade 1987-97 which includes some 30 titles with Vietnam War and post-war reconstruction or emigration references in brief bilingual (often badly translated) descriptions]
[Study of French war films with some discussion of feature films and documentaries of the Indochinese War, decolonization, and the Vietnam War. Bibliography and index. In French]
Revised: 4th ed. McGraw-Hill, 2000. (p. 364-95)
[Discussion of cinematic myths and Vietnam against the background of My Lai. Caution is needed when examining historical films for information about the past. The 'reality' of dramatic films is different from a letter or diary or even a secondary account. At their best, movies have a visual and emotional immediacy, but at its best a drama is still just an artful construction of reality rather than reality itself. Dramatic considerations are always more important than strict fidelity to the historical record. Bibliography and index.]
[Uses Robert Lifton's counterfeit universe theory to examine Apocalypse now, Platoon, and Full metal jacket. Explains Lifton's theory and its connection to Vietnam War television coverage, discusses the evolution of the Hollywood combat film genre since World War II, describes how the counterfeit universe operated in the three subject films, and concludes by using the films to consider the interrelationships among politics, history, and popular culture. Select bibliography]
[Article on films shown at a Vietnamese film week in Paris, with reviews of Pour l'avenir and Le village d'Antan. In French]
[Analysis of French dramatic films with connections to the Indochina War. Filmography. In French]
[The second wave of Vietnam War films gloss over Black participation and racial hostility during the war]
[Expanded version of her earlier article. Black veterans are disappointed and angry with the portrayals of Black soldiers in Vietnam]
[Discusses 1980s film and television treatment of the Vietnam War as a reflection of contemporary politics and society]
[Brief review of L'amant, Indochine and Dien Bien Phu. The French look back on their colonial era in Indochina with nostalgia rather than anger]
[Analyzes the use of rock music in more than twenty Vietnam War related films. Bibliographical references and index]
[The military and the entertainment industry are both in the business of winning the hearts, minds and dollars of their constituents. The Pentagon had developed a symbiotic relationship with the movie industry but this began to unravel in the 1960s and controls over military support for film productions were tightened. The military began to assert control over productions in which it participated. Discusses The Green Berets, Top gun and Platoon at length. Bibliographical references]
[While both stage and screen have struggled for twenty years to bring the Vietnam experience to life, the real story of the Vietnam War lies within those who fought there. Their personal stories must serve as a guide in any artistic exploration of Vietnam. Bibliography]
[The cultural blindness and prejudice that lay behind the original American involvement in Vietnam is still being revealed in retrospective films and television series. These show how Americans were victimized but ignore the Vietnamese. Bibliographical references]
[Limited to English language fiction films but including many which make only "tangential reference" to the war to correct the notion that there have been relatively few Vietnam War films. Filmography and index]
[How filmed depictions of the war contribute to PTS in Vietnam veterans. Bibliography and filmography]
[In Russian]
[Societal amnesia about Vietnam has given way to a desire to make sense of our experience in Vietnam. This article examines the role of popular film in society, shows how Hollywood's portrayal of the Vietnam veteran has changed thru three distinct periods, and finally analyzes the image of the veteran in the current generation of Vietnam related films. Bibliography]
[Describes growing interest in the Vietnam War. Current production and reception of war films takes place amidst cultural contradiction. Vietnam War films do not constitute a genre but borrow codes from other media and films. Television coverage of the war has had a particular impact on filmic representations and they also depend on World War II film formulas. This mutes and distorts the historical specificity of films on the Vietnam conflict, but they do have some distinctive characteristics: their confused and contradictory treatment of returning veterans; their treatment of conflict within soldier communities; and the lack of "command level" films]
[Surveys the state of Vietnamese film production with brief references to specific theatrical and documentary films]
[Interview of Hoang Nhuan Cam, poet and dramatist (Loi lam, Dang sau canh cua, Dem hoi Long Tri), regarding Vietnamese films of 1990]
Reprinted and expanded in his Rough guide to Vietnam 2nd ed. [1998] and 3rd ed. [2000] (p. 482-7)
[Brief survey of Western feature film coverage of Vietnam at war from 1932's Red dust to the films of the early 1990s]
[The memory of the Vietnam War in the United States, as expressed in fiction, memoirs, films, journalism, and war memorials, has been influenced by variations in the political climate since 1972 and has responded to the needs of the national identity expressed by the majority of the American people. This has swung from the "dope and dementia" interpretation to nationalism and back again to the former with the commercial success of Platoon. In Italian. Bibliographical references.]
[A review of the Vietnam Film Project films at their Atlanta showing. The current spate of Vietnam-related films proves that the American movie industry has found the media spectacle of the '60s to be a basis for the melodrama of the '80s. But Hollywood is not alone. The Project's Vietnamese productions measure the war's impact through documentary, comedy, teen-angst drama and portrayals of everyday life]
[Translation of her Vietnamkrieg und seine Darstellung ... with filmography, title index and illustrations added. In Russian. Bibliographical references]
[Russian analysis of the place of the Vietnam War in international film. In German]
[Discusses US films of the first wave with analysis of Coming home, The Deer hunter, Apocalypse now, and The Stuntman. Concludes that the lessons of Vietnam are an as yet unexploded mine in the body of America. In German]
[Analyzes the conversion convention of pre-Vietnam films (a coward becomes a soldier who usually dies heroically for his country) and how it has been inverted (a gung-ho soldier becomes disillusioned and bent on personal survival) since Vietnam. Finds seven major variations on the theme in more than 40 films. Filmography]
[Hollywood feature films dealing with the Vietnam War show a persistent pattern of attitudes and behaviors originally decribed by Lederer and Burdick in their novel The ugly American. This syndrome is characterized by American ethnocentrism and mistaken notions of omnipotence. The films dramatize why America was unable to win the "hearts and minds" of the Vietnamese. Bibliography and filmography.]
[Teaching aids for an anti-war film program. Some reference to relevant feature films, but chiefly documentaries. Bibliography and filmographies. Subject index]
[Describes how traditional gangster film heroes have become criminal psychopaths in post World War II films. Makes reference to Targets, Dirty Harry and Taxi driver. This last film and others are cited as examples of the use of the alienated Vietnam veteran as the latest manifestation of the psychopathic hero]
[Updated ed. of Dougall, 1973]
[The image of the American fighter pilot in Vietnam was overshadowed by the dominant image of the infantry “grunt” until the second wave of Vietnam War films in the mid-1980s. Then military pilots appear in a significant way. In these later films aviators undergo the archetypal hero’s quest but are removed from the moral uncertainty of ground combat. “This displacement protects the aviator from the same physical and ethical fate as his ground-pounding counterparts, thus preserving the honorable image of the warrior” (p. 116). The author compares and contrasts images of aviators with those of ground forces who fail to emerge as heroes and concludes with implications for the preservation of the warrior’s image in post-Vietnam America. Bibliographical references]
_______________ (see also under Rasmussen, Karen)
[Includes (p. 136-39) a selective filmography of Australian documentary and dramatic treatments of the Vietnam War, including cinematic, television and radio programs]
[Representations of Australian participation in Vietnam illustrate a rupture in that country's popular culture and the Anzac legend. Australian popular memory of Vietnam has generally followed the American pattern. Discusses the patterns in American representations of Vietnam and corresponding Australian films including The odd angry shot, and two television mini-series, Sword of honour and Vietnam. Bibliographical references.]
[Explores the roots of the myth of the missing warrior in the American military experience and its manifestation since the 1970s in fiction, film and POW/MIA political action groups]
[Vietnam combat films have traded critique for consensus and fail to sustain the deconstruction of the American experience. Instead of looking at combat films for an account of American experience in Southeast Asia, the author suggests it is better to look at action movies where the displaced trauma of Vietnam recurs as the failure of American culture. Concentrates analysis on Aliens and Predator with references to other films. Bibliographical references]
[History of theater and filmmaking in Vietnam. In Vietnamese]
[In the wake of the second wave of Vietnam War films, examines the "new militarism" of Hollywood representations of the military, comparing this with older films through seven different themes]
[A psychologist studies the use of war veterans, chiefly in American films with Vietnam War connections. Veterans have been used (in both high and low quality films) as heroes, anti-heroes and supporting players who sometimes become cultural symbols and make a statement about a war’s impact on society. Their unique experiences in combat become credentials to motivate action, mayhem, fantasy, romance and mystery. Filmographies, bibliography and index]
[Hollywood has a dogmatic commitment to cinematic realism. The most interesting films about Vietnam had to undermine the realist form in order to deal with the contradictions posed by the war. Contrasts American Vietnam War films with the Australian film Odd angry shot and The sands of Iwo Jima. Bibliographical references]
[Veterans comment on Coming home, The Deer hunter, and Apocalypse now]
[Annotated filmography of Vietnam War films then available on tape]
[On the second wave of Vietnam War films and documentaries. Finds that most fiction films do not accurately depict the war. With a selected filmography]
[A general survey of films about the war and veterans and how their themes and focus have changed over time]
[The author, who covered the war as a New York times correspondent, reacts to television broadcast of Vietnam War films (theatrical and made for television). "Nothing on commercial television is going to teach Americans the real reasons we went to war in Vietnam, why we tried to destroy it, who defied us, why we were destined to lose the war and how much we now hunger for revenge"]
[Vietnam War films are part of a twenty year process of simplification. Public dissatisfaction, antiwar and antidraft movements were reduced to an illness (the 'Vietnam syndrome'). American acts that seemed like crimes were replaced by 'barbaric' Vietnamese treatment of POWs. The chaotic stories of loyalties in the military and connections between soldiers and civilians would be transposed into that figure of pathos, the mistreated Vietnam veteran]
[Analyzes Apocalypse now, The deer hunter, Full metal jacket and Jacob's ladder]
[Discussion of Hollywood's approach to the Vietnam War through the first wave of post-war films. In Dutch]
[Hollywood's attempts to exploit campus rebellion and student protest as film subjects have been commercial disasters. Public reception was negatively affected by the student deaths at Kent State and Jackson. The movies would always seem inaccurate and incomplete because a large segment of their target audience considered themselves expert on the subject. Examines The strawberry statement, Getting straight, and The pursuit of happiness in some detail]
[Describes how television entertainment programs in three distinct eras (1965-73, 1973-83, and the mid-80s to date) have reflected changing American public opinion about the Vietnam War and veterans. Bibliography]
[An introduction to North Vietnamese cinema with mention of many documentaries and a few dramas. In French]
[Essay on the Vietnam War and its images. In German]
[Superficial survey of Vietnam War combat films with reference to selected television series and movies]
[Compares positions of films on war, focusing mainly on recent films about Vietnam and Central America]
[Discusses Apocalypse now, The Deer hunter, Coming home, Go tell the Spartans, Tracks, and Who'll stop the rain. In Italian]
[Apocalypse now, The Deer hunter, and Rambo compared with historical war narratives and popular folk heroes]
[Cast and credit lists with reprints of reviews from periodicals and newspapers for major films]
[With contributions from Truong Chinh, Ha Xuan Truong and Willi Ludecke and a filmography of Vietnamese daramatic and documentary films since 1953. In German]
[Titles and descriptions]
[Survey of filmmaking by the NLF and North Vietnam. In Swedish. Signed H.C.]
[Briefly discusses "a regiment of films dealing with the hitherto neglected conflict in Southeast Asia" which were then forthcoming]
[Announces an anti-war amateur film contest]
[On the first wave of Vietnam War films. In Czech]
[Annotated bibliography of books and articles]
[The author, a novelist and screenwriter then scripting August moon, a story of a GI and his Viet Cong girlfriend, reacts to the release of Casualties of war with an appeal to promote the making of movies about "good deeds done in Vietnam"]
[Using a methodology based primarily in structuralism (and its descendants) and cultural studies, the thesis marks the temporal and ideological path of the Hollywood war film, from its origins as a World War II propaganda tool through its adaptation to the new and increasingly confusing realities of cold war, Korea, and Vietnam. The study culminates with an examination of the genre in the post-Vietnam-era. The Dirty dozen, Ulzana's raid, Southern comfort, and Uncommon valor are among the films analyzed. Bibliography]
["The story of the heroic American prisoners abandoned in Southeast Asia could not become a major American myth until the Hollywood dream factory geared up its assembly line for mass production of the essential images" (p. 136). Analyzes the fantasies present in POW/MIA rescue movies. Bibliographical references and index]
[Movies like Top gun or Rambo are more likely to have determined the vision of war of current draft-age youth than the television images of Vietnam that shaped the anti-war movement of the 1960s. Interviews with Bay-area youth show that the post-Vietnam generation has been bombarded by scenarios in which wars are quick and surgical and the good guys always emerge triumphant]
[Anthology of 19 essays (several initially presented at a 1988 conference on the war film held at the University of Massachusetts, Boston. The essays analyze the ways in which the Vietnam War has been interpreted by dramatic and documentary filmmakers. The war has an increasingly diffuse presence in the public consciousness. The editors argue that "the films under discussion work to reaffirm those same beliefs that the the war threw into doubt, and that they do so by observing, not illuminating, the painfully unresolved feelings Americans have about the war" (p. 7). Includes a chronological appendix of historical events and release dates of major war films from 1954 thru 1988. Relevant essays cited separately]
Review essays:
Fore, Steven James. "From Hanoi to Hollywood: The Vietnam War in American film " Film quarterly 45/4 (summer 1992), p. 43-4.
Ripmaster, Terence. "From Hanoi to Hollywood: The Vietnam War in American film " Literature/film quarterly 20/3 (1992), p. 260-62.
Rollins, Peter C. "Vietnam and American culture" Journal of American culture 14 (winter 1991), p. 77-84.
Young, Marilyn B. "Book reviews: … From Hanoi to Hollywood: The Vietnam War in American film…" Cineaste 19/2-3 (1992), p. 85-6.
[Discusses Vietnam film roles of Matthew Modine, Keith Daniel and Willem Dafoe]
[Discusses the paradox of fragmented representations of the male self in films like The Deer hunter, Platoon, Full metal jacket, and Casualties of war. In such films that apparently celebrate a male collective, the threat to "self" becomes less "the other" than the same. Bibliographical references]
[The use of the Vietnam War in pornographic films. Bibliographical references]
[Filmmakers have repeatedly described the American experience in Vietnam as a collapse of the national self-image. Many Vietnam War films have explored the cultural construction of war as a means to virtuous manhood and morality. "In American Vietnam movies, the unknown, unknowable alien that threatens the 'system' of the American military commonly appears … feminine in stature and dress, appallingly amoral and unmanly in fighting technique and ferocity." The film Full metal jacket illustrates the collapse of "Otherness onto Enemy onto Woman." (p. 121) Bibliographical references]
[Examines the American self-image as projected by movies about the Vietnam War made since the fall of Saigon]
[Shifting public opinion has made what once was a national humiliation a success at the boxoffice in the second wave of Vietnam War films in the US]
[Chiefly a review of In country, with an analysis of the US film industry's changing attitude toward the Vietnam War in new films looking at veterans]