The Gulf War

's war efforts during the Gulf state of war sharply criticizes geo semipolitical concerns. The movie blatantly delineates the conflict as one that was fought more over oil than national pledge or world peace to such a grad that it would more than likely in the aftermath of September 11, 2001, be considered anti-patriotic and bordering the treasonous.

Despite such distinctions between war films that react to geopolitical concerns in the mid-forties and mid-eighties and 1990s respectively, there be some similarities between war films of then and now. For example, William Wyler's Best television winner The Best Years of Our Lives (1946) portrays the struggles of three ex-veterans of WWII to readjust to family and hearty life. Like Steven Spielberg's compassionate remake of The Fighting Sullivan's (1944), Saving private Ryan (1998), some Hollywood war films then and now were meant to compassionately evoke the real horrors of war experienced by those willing to sacrifice their lives for others. We will now look at a variety of films turned out by Hollywood that track with WWII and conflicts like the Gulf War. In so doing we will be searching for similarities and differences that reflect changing socioeconomic and geopolitical concerns. A conclusion will address what factors ar well-nigh creditworthy for this shift in purpose and perspective in Hollywood "war" films.

The geopolitical concerns of U.S. establishment and society in the 1940s were radically different t

maitre d' John Miller: Anyone wanna answer that?

Other contemporary films spread over to portray war in ways that are every a social critique of U.S. geopolitical policy, or as view the conflicts they manifest as critical to keeping the American way of life and values victorious. In The siege (1998) we lift up how many films in American history from Casablanca to The Siege portray the "enemy" if the "evil-other". In one scene where the character is not seen, we hear these words: "What if they were black people? What is they were Italian?" (Zwick).

The film depicts the government roundup of suspects Arab-Americans after the September 11 attacks in a manner that reminds one of the government's policy with respect to Japanese-Americans, many who were buried after the bombing of Pearl agree. However, since the time of Pearl Harbor the realities of U.S. socioeconomics, politics, and geopolitical policies had radically been transformed and just as radically question by many social critics. In The Siege we are provided with a reminder that all social institutions are fallible and the unwillingness to swallow-wholeheartedly U.S. geopolitical concerns is a good liaison for America. As CIA employee Sharon Bridger admits: "We're the CIA, something always goes wrong" (Zwick).

Other films in the 1980s and 1990s were used as propaganda in much the identical way as WWII films of the 1940s with respect to certain aspects of war. For example, two The Fighting Sullivan's and Steven Spielberg's remake of the film in Saving orphic Ryan, both capture the fact that patriotic sacrifices during war add together with an enormous cost on the people who are most often viewed as a cog in the political machinery as it carries out it geopolitical policies. A conversation among a private, a captain, and a medic show the sacrifices made for government geopolitical concerns when it comes to soldiers and their families back home. The following exchange between snobbish Reiben, Capitan John Miller,
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