The movie The Deer Hunter was released in 1978; three years after the end of
the Vietnam War. During the war, the American public had received censored
information by the mass media concerning the war. The American sense of
mission and patriotism hovered above and disguised uncomfortable topics such
as the cruelties inflicted on Vietnamese civilians by GIs or less palatable the
justifications for the U.S. intervention in the war. It therefore left no space for
any respect towards the Vietnamese as an individual being part of an ethnic
group with its own culture. Although stereotypes about the Vietnamese are
adopted and developed in The Deer Hunter so much so that even critics stood
up for the former “enemy” and condemned the depiction as “racist” – the
enemy is not, unlike in several other movies produced at that time, simply an
excuse for demonizing particularly the Vietnamese; it serves as a rather
symbolical threat to a community of “war buddies” and could be replaced by
any other enemy.
In this paper I will argue that labeling The Deer Hunter as “racist” is
misconceived, since the adoption of the Vietnamese as an enemy image has to
be reduced to the threat itself. The first two chapters will explain how the
attitude of the American public towards the Vietnamese as their “enemy” was
shaped and why the issue of Vietnam became a central to the plot. This will
show that the emphasis is laid on something else: human relationships within
the group and not, as it at first seems to be, on the enemy itself. Therefore, I
will explore the significance of community in this particular case and compare
the relationships within the group before, during and after the war. It will
become clear that the original hierarchy of the group dissolves when the group
is threatened. The group´s war experiences lead further to an inability to take
part in the social life at home. Since the original group is shattered, the new
group is challenged to refer to the former bonds that have always kept them
together in order to establish a new identity. Ironically, this new identity is
based on the patriotic phrase “God bless America”.
Table of Contents
1 Introduction
2 Vietnam Stereotyped
3 Why Vietnam?
4 The Community
4.1 The Characters
4.2 The Background
4.3 Breaking-up of the Group
4.4 Re-establishing
4.5 Reunification
5 Conclusion
Objectives and Research Focus
This paper examines the representation of the "enemy" and the significance of community in the 1978 film The Deer Hunter. It challenges the common criticism that the movie is inherently "racist" by arguing that the enemy image serves primarily as a symbolic threat to test the cohesion, hierarchy, and identity of the group of friends at the center of the plot.
- The impact of media-driven stereotypes on the American perception of the Vietnam War.
- The role of human relationships and group dynamics within the "American experience" of war.
- The transformation of characters under the pressure of external threats and trauma.
- The challenge of establishing a new identity for veterans struggling to reintegrate into society.
Excerpt from the Book
4.1 The Characters
A precondition to enable a discussion about the community of friends, it is necessary to analyze each character and his role in the community. Michael, the protagonist is the thinker of the group and seemingly the only one who has foreboding premonitions about the imminent service in Vietnam after having met the Green Beret at the wedding party. A scene that highlights particularly the characters of Michael and Nick comes at the beginning of the movie, when the fellows return home from their last shift before their stop in John´s bar at the beginning of the movie. Nick challenges Michael to overtake a truck on the right side. He bets his truck against Michael’s Cadillac. Michael accepts the bet and overtakes successfully. Michael is a stable character and has a deep self trust in himself: He knows exactly what he is able to do and where to stop. Instead of taking Nick’s truck, which could have been a way of parading his brave deed, he refuses the reward. He does not require any acknowledgements since this triumph confirms his self-confidence. Since he is the one with the most fortified character and strength, he is the only one being able to adopt the duty of keeping the community together during the war.
Summary of Chapters
1 Introduction: Introduces the film The Deer Hunter and outlines the thesis that the movie's portrayal of the Vietnamese is not fundamentally racist but a symbolic device to explore group dynamics.
2 Vietnam Stereotyped: Analyzes how American media during the war constructed negative stereotypes and enemy images to shape public opinion.
3 Why Vietnam?: Discusses the historical context of the film's release and how the "American experience" in Vietnam influenced the narrative.
4 The Community: Explores the lives of the steelworkers from Clairton and how their relationships define their identities.
4.1 The Characters: Provides a detailed analysis of Michael, Nick, and Steven and their evolving roles within the group.
4.2 The Background: Examines the cultural environment of Clairton and the importance of group affiliation for immigrant generations.
4.3 Breaking-up of the Group: Tracks the dissolution of the group's bonds due to the trauma and chaos of the Vietnam War.
4.4 Re-establishing: Investigates the failed attempts to restore pre-war bonds and the tragic consequences of these efforts.
4.5 Reunification: Discusses the final attempt of the survivors to build a new identity and community through ritual and patriotism.
5 Conclusion: Summarizes the study’s findings, emphasizing the film's focus on human relationships and the loss of identity in the aftermath of war.
Keywords
The Deer Hunter, Vietnam War, American cinema, group identity, enemy image, stereotypes, community, trauma, veteran, social cohesion, Russian Roulette, Michael Cimino, psychological impact, patriotism, human relationships.
Frequently Asked Questions
What is the fundamental focus of this academic paper?
The paper focuses on analyzing the film The Deer Hunter to argue that its depiction of the Vietnamese as enemies is not a racist statement, but a symbolic narrative tool used to examine group dynamics and the fragility of human relationships during the Vietnam War.
What are the central themes of the work?
The central themes include the influence of media-constructed stereotypes, the transition of individual identity under wartime pressure, the psychological trauma experienced by veterans, and the critical importance of community cohesion.
What is the primary research goal?
The goal is to provide a nuanced interpretation of the film, shifting the focus from accusations of racism to an exploration of how external threats alter internal group hierarchies and the search for new identity after loss.
Which scientific methodology is used?
The paper employs a qualitative film analysis approach, integrating media studies and socio-psychological theories regarding enemy images and group identity to interpret the character arcs and narrative structure.
What is covered in the main body of the text?
The main body systematically analyzes the background of the Vietnam War, the sociological construction of the "enemy," detailed character breakdowns of the protagonists, and the stages of group dissolution and attempted reunification.
What are the core keywords defining this research?
Core keywords include The Deer Hunter, group identity, enemy image, veteran trauma, social cohesion, and the American wartime experience.
Why does the author argue that the enemy image is symbolic?
The author argues that the specific choice of the Vietnamese enemy in the film is less about historical accuracy or racism and more about creating a situation of "gun at the head" tension that highlights how the characters respond under existential threat.
How is the significance of the song "God bless America" interpreted?
The song is interpreted as a symbolic, ironic act where the remaining group members attempt to find a common, neutral identity to anchor themselves when their previous bonds and traditional identities have been shattered by war.
- Quote paper
- Sarah Kölzer (Author), 2005, "The Deer Hunter", Munich, GRIN Verlag, https://www.grin.com/document/135085
