Softcover; as new remainder.

Softcover; as new remainder.

Access codes and supplements are not guaranteed with used items. May be an ex-library book.

Access codes and supplements are not guaranteed with used items. May be an ex-library book.

viii, [2], 221, [9] pages. Notes. Index. Minor cover wear. Katherine Kinney

viii, [2], 221, [9] pages. Notes. Index. Minor cover wear. Katherine Kinney (B.A. University of Washington; M.A., Ph.D. University of Pennsylvania) teaches twentieth-century American literature and film. Her current research focuses on movie acting in the 1960s, seeking to understand the power of acting and actors at a time of radical change. Her most recent articles focus on documentary filmmaker William Greaves' early career as an actor and his lifelong interest in Method Acting, improvisation in Beat film, and black actors facing the camera in independent films of the 1960s. She is the author of Friendly Fire: American Images of the Vietnam War and her previous research ranges from Walt Whitman's Civil War writings to The X-Files. From 2012 to 2016, she served as Associate Dean for Arts and Humanities at University of California Riverside. Hundreds of memoirs, novels, plays, and movies have been devoted to the American war in Vietnam. In spite of the great variety of media, political perspectives and the degrees of seriousness with which the war has been treated, Katherine Kinney argues that the vast majority of these works share a single story: that of Americans killing Americans in Vietnam. Friendly Fire, in this instance, refers not merely to a tragic error of war, it also refers to America's war with itself during the Vietnam years. Starting from this point, this book considers the concept of "friendly fire" from multiple vantage points, and portrays the Vietnam age as a crucible where America's cohesive image of itself is shattered--pitting soldiers against superiors, doves against hawks, feminism against patriarchy, racial fear against racial tolerance. Through the use of extensive evidence from the film and popular fiction of Vietnam (e.g. Kovic's Born on the Fourth of July, Didion's Democracy, O'Brien's Going After Cacciato, Rabe's Sticks and Bones and Streamers), Kinney draws a powerful picture of a nation politically, culturally, and socially divided, and a war that has been memorialized as a contested site of art, media, politics, and ideology. The impact of the Vietnam War on American culture has been profound, and many works have been devoted to this subject. Katherine Kinney's is the latest one but probably not the last. She is right in her introduction to stress that the war, especially in its representation, has been American-focused and that friendly fire can be used cautiously as the metaphor. She tries to delineate this argument through five chapters: "Indian Country Revisited, " "Imperial Allegories, " "Between the Devil and the Deep Blue, " "Grunts, " and "Humping the Boonies." For every chapter she gives her own reading of some movies and books related to the war. In so doing, Kinney gives interesting insights, the importance of bodies in a war without celebration is a good point.

viii, [2], 221, [9] pages. Illustrations. Notes. Index. Katherine Kinney is a

viii, [2], 221, [9] pages. Illustrations. Notes. Index. Katherine Kinney is a professor in the English department at University of California Riverside. Hundreds of memoirs, novels, plays, and movies have been devoted to the American war in Vietnam. In spite of the great variety of media, political perspectives and the degrees of seriousness with which the war has been treated, Katherine Kinney argues that the vast majority of these works share a single story: that of Americans killing Americans in Vietnam. Friendly Fire, in this instance, refers not merely to a tragic error of war, it also refers to America's war with itself during the Vietnam years. Starting from this point, this book considers the concept of "friendly fire" from multiple vantage points, and portrays the Vietnam age as a crucible where America's cohesive image of itself is shattered--pitting soldiers against superiors, doves against hawks, feminism against patriarchy, racial fear against racial tolerance. Through the use of extensive evidence from the film and popular fiction of Vietnam (e.g. Kovic's Born on the Fourth of July, Didion's Democracy, O'Brien's Going After Cacciato, Rabe's Sticks and Bones and Streamers), Kinney draws a powerful picture of a nation politically, culturally, and socially divided, and a war that has been memorialized as a contested site of art, media, politics, and ideology.