This is a Master degree level dissertation.
Key: this dissertation would like to talk more about how the conflict began more broadly to influence representation and form of the Hollywood Cinema because of Vietnam War. (please include specific films analysis as well) (please see if Part 2 relates to the topic or if there are better ideas)
Part 1: influences of Vietnam War in Hollywood cinema (main part: about 2/3 of the dissertation)
1. war films had lost their appeal by mid-60s [ government control (reference might find in Steve Neale, Genre and Hollywood & Why We Fought: America’s Wars in Film and History by Peter C. Rollins and John E. O’Connor ) etc.] & the end of Hollywood Golden Age — action-adventure films and the change of war films because of Vietnam War (e.g. Francis Ford Coppola’s Apocalypse Now (1979)) (the development of action-adventure genre films could be a key content of this paragraph)
2. (Main Part) the violent content of Hollywood films has been increased during the Vietnam war (Bonnie and Clyde (1967), and it is known for its violent ending in particular. Likewise with some of the westerns from the same period), also the violent content of The Godfather II by Francis Ford Coppola (and Apocalypse Now (1979) etc.) (please also have more content of the influences except violent content)
Part 2:
the transformation of the representation of Vietnam in Hollywood cinema from a largely supportive prof-conflict position to a largely negative one
– e.g. The US government joins the war for varied reasons, largely as part of a broad Cold War strategy. It claims it is to defend the South of the country. Later soldiers realize it is not to save people but kill people. ( e.g. First Blood, Taxi Driver; The Deer Hunter these films show the change of different attitude of veterans during different time)
(“The Vietnam War is not over for the United States. It is still being fought in our popular culture, and the struggle provides rich opportunities for researchers and teachers of contemporary literature, mass media, and culture” (pp.367 Why We Fought: America’s Wars in Film and History))
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