In terms of methodology it will be worthwhile first to take a closer look at the theory of collective memory in order to understand its relevance for a nation’s self-understanding and the way that society’s individual members rely on it. In a next step, the concepts of Turner’s frontier myth thesis as well as Kennedy’s New Frontier will be outlined in order to point out the contents of the nation’s mythology and to determine elements to look out for in films. As we will see, the figure of the individual frontier hero will be of paramount importance. Finally, the main part will focus on the way in which the U.S. frontier myth and particularly the frontier hero actually figure within some Hollywood representations of the war. What is the appearance of the frontier heroes and what experiences do they make on the New Frontier in Vietnam? How can these experiences be characterized and set against the traditional qualities of the frontier myth?
Within the framework of this paper, the choice of films must necessarily be exemplary. The three films that will be discussed here are among the most widely distributed films dealing with the Vietnam War. Moreover, as I hope to demonstrate in this paper, they are exemplary for three different ways of responding to the threat that this war posed to the frontier myth: its assertion, its transformation and its dismissal.
Table of Contents
1. Introduction. Trauma, myth-making and collective memory
2. Collective memory
3. The myth of the American frontier
4. The Hollywood Vietnam hero on the new frontier
4.1 “Rambo – First Blood Part II”
4.2 “The Deer Hunter”
4.3 “Apocalypse Now”
5. Conclusion
Research Objectives and Topics
This paper examines the influence of the American "frontier myth" on the nation's collective memory and its self-understanding in the aftermath of the Vietnam War. By analyzing how this myth is represented, transformed, or dismissed in iconic Hollywood films, the study investigates whether these cultural productions can be seen as a response to the societal trauma caused by the war.
- The theoretical framework of collective memory and its social function.
- The historical significance of Frederick Jackson Turner’s frontier thesis.
- The adaptation of the frontier hero archetype in the context of the Vietnam War.
- Comparative analysis of narrative structures in Rambo, The Deer Hunter, and Apocalypse Now.
- The role of film as a medium for mass dreaming and cultural anxiety compensation.
Excerpt from the Book
4.2 “The Deer Hunter”
Already the title of “The Deer Hunter” openly refers to the frontier myth, since it is reminiscent of James Fenimore Cooper’s novel “The Deer Slayer”. Just like in “Rambo”, “The Deer Hunter” evolves around the classical theme of captivity, in this case in the form of Russian roulette. In contrast to “Rambo” however, it does not try to maintain the qualities of the frontier hero, but rather achieves an inversion of them instead.
Michael Vronsky occupies the central role of the frontier hero and represents the latter’s central attributes, particularly his virtue of self-reliance. As already mentioned in section 4.1 John Rambo acts out the precision in fighting that Michael formulates explicitly in his obsession with killing the deer by only “one shot”. Furthermore, Michael also wears a red “Indian” hair-band and a large knife in Vietnam. Apart from that, their commonalities may be more indirect. Nevertheless, despite Michael’s participation in drinking and gambling, he is shown even more explicitly to be opposed to the corruptions of the “civilization” that surrounds him. He lives alone and detached from community in a trailer at the edge of Clairton, his home town in Pennsylvania, where he has got an employment as a steel worker. Michael clearly despises his friend Stanley, who is presented as “narcissistic, promiscuous, and pistol-flashing” and who makes fun of Michael, because the latter shuns the attraction of women.
The film shows Michael in a number of constellations which are typical for western films such as “male bonding, the repressed love of the hero for a ‘good woman’, the terror of confrontation with savage denizens of a hostile landscape, dancehall girls, even a shoot-out across a table in a crowded gambling room.” His most central quality however seems to be his obsession with self-reliance and control, of which his credo of killing deer on the hunt with a single shot is the most emblematic aspect. It seems to be of relevance for other occasions but hunting as well.
Summary of Chapters
1. Introduction. Trauma, myth-making and collective memory: This chapter introduces the Vietnam War as a traumatic event and establishes the theoretical lens of collective memory to analyze the American societal reaction.
2. Collective memory: This section explores how nations construct a consistent history through the omission and transformation of past events, providing a framework for understanding the role of the frontier myth.
3. The myth of the American frontier: The chapter outlines Frederick Jackson Turner’s frontier thesis and explains how these values were integrated into the American national identity and later adapted by the Kennedy administration.
4. The Hollywood Vietnam hero on the new frontier: This section analyzes how the frontier hero archetype is manifested in three major films, focusing on the assertion, transformation, and dismissal of the myth.
5. Conclusion: The conclusion summarizes how these films reflect the ongoing national struggle to integrate the Vietnam War into a coherent narrative of American heroism and progress.
Keywords
Vietnam War, Frontier Myth, Collective Memory, Frontier Hero, Hollywood, Cultural Production, Trauma, National Identity, Turner Thesis, John F. Kennedy, Rambo, The Deer Hunter, Apocalypse Now, Self-Reliance, Ideology.
Frequently Asked Questions
What is the primary focus of this research?
The paper explores how the traditional American "frontier myth" and the archetype of the frontier hero were affected by the Vietnam War, and how this is reflected in American cinema.
Which specific theme is central to the analysis?
The central theme is the attempt of American society to reconcile its traumatic experience in Vietnam with its deep-seated belief in frontier values, such as rugged individualism and inevitable progress.
What is the main research question of this study?
The study asks how the frontier myth was affected by the Vietnam War and in what ways cultural productions, specifically film, function as a response to this societal trauma.
What methodology does the author employ?
The author uses a cultural-studies approach, combining the theory of collective memory with textual and symbolic analysis of selected Hollywood films to trace the impact of the war on American national mythology.
What is covered in the main section of the paper?
The main part analyzes three representative films—"Rambo – First Blood Part II", "The Deer Hunter", and "Apocalypse Now"—to demonstrate different ways of coping with the ideological crisis caused by the war.
How would you characterize the key concepts?
Key concepts include collective memory as a social framework, the frontier myth as an essential component of American self-understanding, and the use of cinematic archetypes to navigate national history.
How does "Rambo" differ from the other two films?
Unlike "The Deer Hunter" or "Apocalypse Now", "Rambo" attempts to uphold the traditional frontier hero image, albeit as a caricature, and focuses on compensating for a perceived damage to the American self-image.
What is the significance of the "one shot" credo in "The Deer Hunter"?
The "one shot" credo symbolizes the frontier virtue of self-reliance and complete control; its subversion throughout the film marks the transition of the hero when confronted with the reality of the war.
Why is Captain Willard in "Apocalypse Now" described as a placeholder?
Willard is seen as a guide for the audience rather than a traditional hero, facilitating the viewer's journey through the moral breakdown and the exposure of the hollow ideology fueling the war.
- Quote paper
- Master of Arts Henrik Brendel (Author), 2008, The frontier hero in Vietnam - Reconstruction of a myth, Munich, GRIN Verlag, https://www.grin.com/document/188860
