Films Dealing With The Vietnam War - 1762 Words

Film, as an art form and furthermore, as a cultural product, is a proficient and effective producer of cultural memory in society. It is a primarily a visual medium, and it is this facet that predicates its innate ability to represent, alter and, therefore arguably subvert memory. Moreover, as Sturken states â€Å"†¦cinematic representations of the past have the capacity to entangle with personal and cultural memory.†1 In the case of films dealing with the Vietnam War, this capacity proves central to the creation of cultural memory regarding the event. The films’ diegesis, its represented reality, which is constituted of sound and images, engages in a process of interaction with established historical narratives and discourses, as well as†¦show more content†¦In this complex process certain events and information will invariably be ignored (i.e. forgotten) emphasising that the creation of memory relies both on constructive recollection and active forgettin g. It is these intricate and reciprocal relationships between accepted historical discourses, cultural memory and cultural products that have informed my choice of films. Platoon (1986) and Born on the Fourth of July (1989) possess many ostensible similarities as well as distinct differences. Furthermore, and significantly, both films are based somewhat on personal memories, therefore providing valuable if divergent insights into the processes behind the creation of cultural memory, the mediation of historical discourses and the re-shaping of personal experience. The director and writer of both films is Oliver Stone (though he co-wrote the screenplay to Born on the Fourth of July in collaboration with Vietnam veteran Ron Kovic), an individual whose life has been profoundly affected by the Vietnam War. Not dissimilar to the character of Chris Taylor, Stone dropped out of Yale University and voluntarily enrolled for service. Stone’s Vietnam films benefit from his personal expe rience and memories of the event, providing a dimension of gravitas, an authenticity that is visceral and affecting. These distinctive facets of his work contribute to the creation of cultural memory, as his films effectively mediate personal and collective memory into the complex forum