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Nostalgia, Stasis, and the Vietnam War Film

Nostalgia, Stasis, and the Vietnam War Film paul cornelius and douglas rhein originating in the mid -1960s and lasting This present study seeks to frame America’s well into the late 1970s, a much­discussed continuing view of Southeast Asia against Da­ nostalgia wave washed over the American cul­ vis’s observation. It posits that the American tural landscape. Beginning with films such as concept of “Asia” has largely been displaced Bonnie and Clyde (1967), The Sting (1973), and onto Southeast Asia in general and that the Paper Moon (1973) and television programming idea of Southeast Asia itself still rests on the such as The Waltons (1971), the popular focus iconography, storylines, and symbolism es­ on the past began with the 1930s and steadily tablished in the Vietnam War film in particular. moved forward until it settled on the 1950s, Southeast Asia, along with China, Korea, and when such films and television programming as Japan, of course, has grown immensely more American Graffiti (1973), The Lords of Flatbush wealthy and powerful over the past four de­ (1974), Grease (1978), Happy Days (1974), and cades since the end of the war. But the Ameri­ Laverne and Shirley (1976) seemed omnipres­ can vision of the region has not kept pace; it http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Nostalgia, Stasis, and the Vietnam War Film

Journal of Film and Video , Volume 71 (4) – Dec 4, 2019

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

paul cornelius and douglas rhein originating in the mid -1960s and lasting This present study seeks to frame America’s well into the late 1970s, a much­discussed continuing view of Southeast Asia against Da­ nostalgia wave washed over the American cul­ vis’s observation. It posits that the American tural landscape. Beginning with films such as concept of “Asia” has largely been displaced Bonnie and Clyde (1967), The Sting (1973), and onto Southeast Asia in general and that the Paper Moon (1973) and television programming idea of Southeast Asia itself still rests on the such as The Waltons (1971), the popular focus iconography, storylines, and symbolism es­ on the past began with the 1930s and steadily tablished in the Vietnam War film in particular. moved forward until it settled on the 1950s, Southeast Asia, along with China, Korea, and when such films and television programming as Japan, of course, has grown immensely more American Graffiti (1973), The Lords of Flatbush wealthy and powerful over the past four de­ (1974), Grease (1978), Happy Days (1974), and cades since the end of the war. But the Ameri­ Laverne and Shirley (1976) seemed omnipres­ can vision of the region has not kept pace; it

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Dec 4, 2019

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