The Subject Position in Apocal
The subject position in a film is with whom the audience member most closely identifies with throughout the film. The subject position is created both by the filmmaker and by the audience that views the film. In many films about the American intervention in Southeast Asia, the films create a spectator position that initially is different from American national identity but by the end of the movie the subject position usually comes in line with the views widely held by Americans. Examples of these types of Vietnam films are Platoon and China Gate. But some films in this sub-genre stray from this pattern. One example of a film about Vietnam in which the subject position does not change is Apocalypse Now. In Apocalypse Now, Francis Ford Coppola creates an unstable subject position that is different from most other films about Vietnam. In Coppola's film the subject position remains fixed to something other than that of American national identity.In Apocalypse Now, Coppola uses the figure of Captain Willard (Martin Sheen) to create a subject position. Coppola wants the audience to experience the film through the eyes and thoughts of Captain Willard. This is accomplished mainly through the use of voice over narration and poi
In the final scene Willard becomes Kurtz upon the assassination. Through Willard's voice over narration, it is revealed that it is Willard's mission, but the Chief's boat. The film can also be viewed as antiwar as well. Selig, Michael, "From Play to Film: Strange Snow, Jacknife, and Masculine Identity inthe Hollywood War Film," Literature/Film Quarterly, vol20, no3, 1992, pp173-180. Not wrong in that America should not be involved in fighting the Viet Cong, but wrong in the policies that force the Americans to fight with "one hand tied behind their backs". Tomasulo points out in his essay, The Politics of Ambivalence: Apocalypse Now as Prowar and Antiwar Film, other elements tie the two characters together. , "Soldier, Surfer, Sailor, Chef: Conrad's Ethics and the Margins of Apocalypse Now," Literature/Film Quarterly, vol20, no4, 1992, pp188-198. In one sense, Kurtz is not really Willard's "other", they are one in the same. Kurtz is being charged for the murder of Vietnamese double agents and Willard is the instrument for the generals to carry out their policy. " in From Hanoi to Hollywood: The Vietnam War in American Film, eds. Through Willard's voice over narration, it is revealed that Kurtz's patrols were becoming ambushed more frequently. The character of Kurtz is morally questionable. Tomasulo argues that the film can be seen as both a prowar film and an anti war film at the same time.
Common topics in this essay:
Kurtz Willard's,
Chief Chief,
Willard Kurtz,
United States',
Duvall Kilgore,
Captain Willard,
Kurtz Colonel,
Antiwar Film,
Brando Willard,
Americans Americans,
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university press,
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war american film,
press brunswick,
rutgers university,
gene rutgers,
hollywood vietnam war,
brunswick 1997,
vietnam war american,
eds dittmar linda,
american film eds,
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Acceptance Essays
