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Enemies Within

This chapter delves into the portrayal of various perceived threats in American films, from right-wing extremists like the KKK to left-wing extremists and the specter of McCarthyism. It scrutinizes how Hollywood exaggerates these threats, shaping public perception and reinforcing stereotypes. The narrative highlights films that examine racial oppression, reflect on the politics of terrorism, and depict the Red Scare, illustrating the tension between real and imaginary enemies. Ultimately, it raises critical questions about the representation of American values and the influence of cinema on cultural fears.

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Enemies Within

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  1. Enemies Within • What enemies does the chapter talk about? • Right Wing Extremists (KKK) • Left Wing Extremists Communists • McCarthyism (Rabid Anti-Communists) • Real vs. Imaginary Threats • How real are/were these threats? • How does Hollywood exaggerate these threat?

  2. Americanism in Film Films that promote the values of the Declaration of Independence, the Constitution, consensual pragmatism (just because you disagree with me doesn’t mean you are the enemy) Films that display a problematic strand of Americanism, often exemplified by extremists

  3. Right Wing Extremists • Many films have examined the KKK • Birth of a Nation (1915); Black Legion (1937); Storm Warning (1951); Skokie (1981) • Less so in the 60s and 70s • Other Racist/Neo-Nazi groups • Mississippi Burning (1988); Betrayed (1988); American History X (1998) • But “this saga of racial oppression is framed—as so many Hollywood films have been—as a problem to be solved by white protagonist” (p.159-60)

  4. The Siege (1998) • African-American protagonist • Taking on a white antagonist (Bruce Willis) • Lebanese supporting actor (Tony Shalhoub) • Only white protagonist is a female (and a badass) who dies in the end (A. Bening)

  5. The Siege (1988) Who are the enemies in the Siege? Terrorists Religious extremists Super-patriots Military (Intelligence: CIA, NSA)

  6. The Siege (1988) • The Politics of Terrorism • Last scene Hubbard tells Major General Devereaux that the terrorist probably don’t even want the Sheik, but instead wanted the U.S. to declare Martial Law • Movie anticipates domestic terrorism by Muslim extremists • Anti-Muslim backlash • Torture of combatants and noncombatants • Extraordinary Rendition

  7. External and Internal Enemies • Political officials (everywhere) have an incentive to exaggerate external or internal threats. • This is true for Democracies or non-democracies • War on Crime • War on Terrorism • Red Menace

  8. Joseph McCarthy (1908-1957)

  9. McCarthyism • Films depicting the red menace • Walk a Crooked Mile (1948); I Married a Communist (1949); The Red Menace (1949); I Was a Communist for the FBI (1951); My Son John (1952) • Big Jim McLain (1952): John Wayne stars as a HUAC investigator (House UnAmerican Activities Committee) assigned to smash a Communist Spy ring in Hawaii • Traditional G-Men versus gangster plot, with the mob being replaced by Communists

  10. Anti-McCarthyism • Films depicting the red scare • Advise and Consent (1962); Guilty by Suspicion (1991); The Way We Were (1973); The Front (1976); The Majestic (2001); Good Luck and Good Night (2005) • Films depicted people being falsly accused • Films did not depict the idea that being a communist was acceptable • Few exceptions: Salt of the Earth (1954);Reds (1981)

  11. Sidney Lumet (1924-2011) 12 Angry Men (1957) Serpico (1973) Dog Day Afternoon (1975) Network (1976)

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