Iconografía, imaginarios y construcción de estereotipos del adversario en el cine bélico de hollywood (1979 a 1989)
The research provides an analysis of war films from 1979 to 1989, with production centered in the Vietnam conflict, and that unlike the propaganda film used in previous conflicts, presents a critical look at the conditions that traverse military troops in the field battle, emerging internal confl...
| Autor Principal: | Cisternas Utreras, Roy Esteban |
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| Formato: | bachelorThesis |
| Idioma: | spa |
| Publicado: |
2014
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| Materias: | |
| Acceso en línea: |
http://dspace.ups.edu.ec/handle/123456789/6575 |
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| Sumario: |
The research provides an analysis of war films from 1979 to 1989, with production
centered in the Vietnam conflict, and that unlike the propaganda film used in
previous conflicts, presents a critical look at the conditions that traverse military
troops in the field battle, emerging internal conflicts that cause the stereotype of the
adversary in this film is not the enemy country at war, but their own fellow soldiers.
Was studied three renowned film directors in this type of film, Francis Ford
Coppola’s Apocalypse Now, Stanley Kubrick’s Full Metal Jacket, and Platoon’s
Oliver Stone. Was analyzed three aspects, the iconography, the imagery and the
stereotype of the adversary. The iconography has continually elements alluding to
American consumer culture as opposed to the environment in that fight, being
Apocalypse Now contains the highest number of symbols. |
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