By Jeffrey Walsh, James Aulich
This selection of essays makes an attempt to anlayze the fictitious, mythic and visible representations of the Vietnam battle and considers their price in articulating old truths. each one essay makes an attempt to supply a place to begin for additional research. the themes coated by way of the essays diversity from paramilitary tradition, cinema and high-quality paintings to the imagery of the helicopter, poetry, comics, Rambo as warrior hero and the Vietnam Veterans' memorial.
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Extra info for Vietnam Images: War and Representation
Photo essays on Afghan rebels have appeared regularly. SOF training-teams frequently travel to Central America. In El Salvador they teach elite shock batallions how to maintain their M-60 machine guns and fire 81mm mortars accurately. In Honduras they assist the Contras - Brown and other SOF personnel have been implicated in shipping arms- and SOF freelancers accompany them on raids in Nicaragua. Interviews with Contra leaders are a routine feature. Other stories come from travels with South African American Paramilitary Culture 29 Army commando groups and Angolan guerrillas (Holden Roberto's UNIT A organisation) as they try to destroy the leftist Angolan government and various anti-apartheid guerrilla groups which are categorised as pro-Communist, and therefore the enemy.
30 SOF has thus created an incredible combination of real counterinsurgency warfare, mercenaries and military units mixed with traditional American themes of cultural regeneration through violence and a warrior identity for men, ideological anti-Communism, a populist scepticism towards political leaders and consumerism. SOF claims that it has around 35,000 subscribers and newsstand sales of another 200,000 or so each month (apparently issues with war-movie covers do the best). Since the mid-1980s, several competing magazines have entered the field.
Soldiers then go off to war (where they bond even tighter) and the surviving victors are certified men. In Westerns the master warrior or warriors don't 'go home'. In war movies, American Paramilitary Culture 19 however, soldiers frequently talk of going home. War movies imply that the soldiers' victories will be well respected since they have both defended their society and embody the society's highest ideals; their war success infuses society with their powers. 18 Baby-boomers grew up on this war and Western mythology.
Vietnam Images: War and Representation by Jeffrey Walsh, James Aulich