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American Cinema and Cultural Diplomacy: The Fragmented Kaleidoscope
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American Cinema and Cultural Diplomacy: The Fragmented Kaleidoscope
Current price: $99.99
Barnes and Noble
American Cinema and Cultural Diplomacy: The Fragmented Kaleidoscope
Current price: $99.99
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Size: Hardcover
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This book contends that Hollywood films help illuminate the incongruities of various periods in American diplomacy. From the war film
Bataan
to the Revisionist Western
The Wild Bunch
, cinema has long reflected US foreign policy’s divisiveness both directly and allegorically. Beginning with the 1990s presidential drama
The American President
and concluding with
Joker’s
allegorical treatment of the Trump era, this book posits that the paradigms for political reflection are shifting in American film, from explicit subtexts surrounding US statecraft to covert representations of diplomatic disarray. It further argues that the International Relations theorist Walter Mead’s concept of a US polity dominated by contesting beliefs, or a ‘kaleidoscope’, permeates these changing paradigms. This synergy reveals a cultural milieu where foreign policy fissures are increasingly encoded by cinematic representation. The interdisciplinarity of this focus renders this book pertinent reading for scholars and students of American Studies, Film Studies and International Relations, along with those generally interested in Hollywood filmmakers and foreign policy.
Bataan
to the Revisionist Western
The Wild Bunch
, cinema has long reflected US foreign policy’s divisiveness both directly and allegorically. Beginning with the 1990s presidential drama
The American President
and concluding with
Joker’s
allegorical treatment of the Trump era, this book posits that the paradigms for political reflection are shifting in American film, from explicit subtexts surrounding US statecraft to covert representations of diplomatic disarray. It further argues that the International Relations theorist Walter Mead’s concept of a US polity dominated by contesting beliefs, or a ‘kaleidoscope’, permeates these changing paradigms. This synergy reveals a cultural milieu where foreign policy fissures are increasingly encoded by cinematic representation. The interdisciplinarity of this focus renders this book pertinent reading for scholars and students of American Studies, Film Studies and International Relations, along with those generally interested in Hollywood filmmakers and foreign policy.
This book contends that Hollywood films help illuminate the incongruities of various periods in American diplomacy. From the war film
Bataan
to the Revisionist Western
The Wild Bunch
, cinema has long reflected US foreign policy’s divisiveness both directly and allegorically. Beginning with the 1990s presidential drama
The American President
and concluding with
Joker’s
allegorical treatment of the Trump era, this book posits that the paradigms for political reflection are shifting in American film, from explicit subtexts surrounding US statecraft to covert representations of diplomatic disarray. It further argues that the International Relations theorist Walter Mead’s concept of a US polity dominated by contesting beliefs, or a ‘kaleidoscope’, permeates these changing paradigms. This synergy reveals a cultural milieu where foreign policy fissures are increasingly encoded by cinematic representation. The interdisciplinarity of this focus renders this book pertinent reading for scholars and students of American Studies, Film Studies and International Relations, along with those generally interested in Hollywood filmmakers and foreign policy.
Bataan
to the Revisionist Western
The Wild Bunch
, cinema has long reflected US foreign policy’s divisiveness both directly and allegorically. Beginning with the 1990s presidential drama
The American President
and concluding with
Joker’s
allegorical treatment of the Trump era, this book posits that the paradigms for political reflection are shifting in American film, from explicit subtexts surrounding US statecraft to covert representations of diplomatic disarray. It further argues that the International Relations theorist Walter Mead’s concept of a US polity dominated by contesting beliefs, or a ‘kaleidoscope’, permeates these changing paradigms. This synergy reveals a cultural milieu where foreign policy fissures are increasingly encoded by cinematic representation. The interdisciplinarity of this focus renders this book pertinent reading for scholars and students of American Studies, Film Studies and International Relations, along with those generally interested in Hollywood filmmakers and foreign policy.
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