사냥꾼과 병사, 그리고 베트남 전쟁: <디어 헌터>와 『 우리는 왜 베트남에 있는가? 』 비교
The Hunter-Soldier Figure in The Deer Hunter and Why Are We in Vietnam?
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This paper explores the hunter-soldier figure in the history of American culture, particularly focusing on two Vietnam War narratives, The Deer Hunter directed by Michael Cimino in 1978 and Why Are We in Vietnam? written by Norman Mailer in 1967. Though generically and periodically distant from each other, these two narratives on the Vietnam War have quite surprising similarities: the themes, for example, such as male bonding and homo-social relationships, cruelties and obscenities of the Vietnam War, and most of all, the "regeneration through violence" theorized by Richard Slotkin as a narrative and cultural propellent of the collective American society since the successful inception of the frontier myth. Putting these two narratives in the context of American cultural history which includes James Fenimore Cooper's The Deerslayer and the interventionist history of the Vietnam War, this paper argues that these two narratives have certain conservative or "revisionist" aspects in understanding the American intervention into Asia, although it is true that they have some quite clear attitudes against the war in Vietnam. Heavily relying on the idea of male bonding and the ideal of masculinity, these two narratives recycle the dominant ideological elements of American cultural history and thereby play into hands of ideological reconfinement imposed by the traditional American cultural history.
Abstract
This paper explores the hunter-soldier figure in the history of American culture, particularly focusing on two Vietnam War narratives, The Deer Hunter directed by Michael Cimino in 1978 and Why Are We in Vietnam? written by Norman Mailer in 1967. Though generically and periodically distant from each other, these two narratives on the Vietnam War have quite surprising similarities: the themes, for example, such as male bonding and homo-social relationships, cruelties and obscenities of the Vietnam War, and most of all, the "regeneration through violence" theorized by Richard Slotkin as a narrative and cultural propellent of the collective American society since the successful inception of the frontier myth. Putting these two narratives in the context of American cultural history which includes James Fenimore Cooper's The Deerslayer and the interventionist history of the Vietnam War, this paper argues that these two narratives have certain conservative or "revisionist" aspects in understanding the American intervention into Asia, although it is true that they have some quite clear attitudes against the war in Vietnam. Heavily relying on the idea of male bonding and the ideal of masculinity, these two narratives recycle the dominant ideological elements of American cultural history and thereby play into hands of ideological reconfinement imposed by the traditional American cultural history.
참고문헌 (22)
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