By Nathan Gardels
This mind-blowing little e-book explores the function folks media in overseas coverage, not just at the moment second, yet with a watch to the future.Written through a veteran Hollywood movie govt and an the world over identified columnist in international affairsExplains how American videos, television exhibits, and dad tune give you the photographs of the United States to the remainder of the realm, and the remainder of the area to AmericansIncludes discussions of the cartoons of the Prophet Mohammed Danish day-by-day newspapers, Tibetan clergymen censored out of chinese language television information stories in basic terms to teach up on You Tube, and the Vatican's attack at the Da Vinci Code movieArgues that Hollywood is a key participant within the 'deep coalition' required to help a 'smart strength' international coverage and construct an international cultural infrastructure that would make the area secure for interdependence
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Extra info for American Idol After Iraq: Competing for Hearts and Minds in the Global Media Age
Inevitably, as the French scholar Jean-Michael Valantin has argued, American movies have tended, recurrently, to reveal the culture’s preoccupation with its “frontier” and “manifest destiny” myths, the battle between good and evil and “threats” from the outside whether the yellow peril of Fu Man Chu or, in later times, Saddam-looking thugs who reaffirm America’s sense of identity as the exceptional guardian of the right way among nations. Valantin’s frame is a good one and we follow it roughly Seeing and Being Seen 35 throughout this chapter.
As the anti-Vietnam war movement and the counterculture erupted in the Johnson and Nixon years, Hollywood loomed large with films like Easy Rider which iconified the youth rebellion and disaffection with the “new south” and the silent majority rising in resentment against the counterculture. The film was a dream for the studios – it struck a deep chord among audiences and only cost $1 million to make. With a certain cultural lag, this was followed with a cinema of catharsis and healing, expressed in the films we have discussed like Apocalypse Now and Coming Home.
Later, in the immediate post-World War II period, Hollywood began to tell the stories shared collectively by so many war veterans who were now returning to their families 36 Seeing and Being Seen and normalcy, codifying in images, in a way history books never could, the experience of sacrifice and triumph in the national psyche. John Wayne’s Sands of Iwo Jima comes immediately to mind. Sayanora, with Red Buttons as an American soldier falling in love with a Japanese girl, signaled in popular culture the reconciliation with Japan that was taking place in diplomacy.
American Idol After Iraq: Competing for Hearts and Minds in the Global Media Age by Nathan Gardels