English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

This article examines the subversion of the hero soldier figure in three Vietnam War films from three different nations that faced defeat in Vietnam: Coppola’s  Apocalypse Now , Schoendoerffer’s  Dien Bien Phu , and Jeong Ji-yeong’s  White Badge . A close analysis reveals that all three films undermine the image of the virtuous and powerful hero soldier through recurring stylistic elements.  Apocalypse Now , through the ‘Ride of the Valkyries’ helicopter sequence – as well as the opening and ending sequences – portrays the American soldier as a barbaric aggressor.  Dien Bien Phu , meanwhile, visually undermines the image of the powerful hero soldier through cinematographic techniques which portray the French soldiers in the field as small and powerless. Finally,  White Badge –  which, unlike the two other films, takes place in the post-war period – subverts the image of the hero soldier through its use of auditory and visual elements to portray the Korean soldier as aggressor and, first and foremost, victim. The article concludes with a discussion of how the three films influence audiences’ perceptions of those who fought in Vietnam.

The soldier as victim and aggressor: subverting the hero soldier in Apocalypse Now, Dien Bien Phu , and White Badge