Download Cinema Wars: Hollywood Film and Politics in the Bush-Cheney by Douglas Kellner PDF

By Douglas Kellner

Cinema Wars explores the intersection of movie, politics, and US tradition and society via a daring serious research of the flicks, television indicates, and documentaries produced within the early 2000s

* bargains a thought-provoking depiction of Hollywood movie as a contested terrain among conservative and liberal forces

* movies and documentaries mentioned contain: Black Hawk Down, The Dark Knight, Star Wars, Syriana, WALL-E, Fahrenheit 9/11 and different Michael Moore documentaries, among others

* Explores how a few movies during this period supported the Bush-Cheney regime, whereas others criticized the management, overtly or otherwise

* Investigates Hollywood’s therapy of various scorching subject matters, from terrorism and environmental situation to the Iraq struggle and the tradition wars of the 2000s

* exhibits how Hollywood movie within the 2000s delivered to lifestyles a colourful array of social protest and helped create cultural stipulations to select Barack Obama

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Extra info for Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era

Example text

Not surprisingly, Behind Enemy Lines footage was incorporated into a popular Navy recruitment ad shown in theaters and on TV for months. John Moore, the director of the film, was best known at the time as the creator of a Sega video game ad, and his improbable narrative, jerky camera, and comic-book vibe reflect his inexperience and origins. 34 TV news footage shown is from Sky TV News, owned by Rupert Murdoch, who also owns the film company 20th Century Fox that produced the film, so the militarist and conservative propaganda dimension is obvious and on the surface.

Hollywood films in the new millennium include a series of allegories of disaster that I engage and relate to current fears and dangers of societal and eco-catastrophe. In an uncanny fashion, social apocalypse films anticipate not only intensifying environmental crisis, but Introduction: Film, Politics, and Society 41 also the financial meltdown of Fall 2008, which was deemed the greatest economic crisis since the Great Depression of the 1930s. Chapter 2 opens with analysis of 9/11 as a spectacle of terror akin to a disaster film, an event which enabled the Bush-Cheney regime to carry through its hard-right and militarist agenda.

Shortly thereafter, a sinister looking American eyes him, whom we Introduction: Film, Politics, and Society 19 later learn is Major General Devereaux (Bruce Willis), who holds the sheik in a secret location. The scene cuts to New York City where the FBI is informed that hostages are being held aboard a bus containing a bomb. Agent Anthony (Hub) Hubbard (Denzel Washington) and his ArabAmerican partner Frank Haddad (Tony Shalhoub) of the FBI counterterrorism unit take charge of the operation and learn that the explosive was a giant paint-bomb.

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