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<p>This essay looks at some of the American film noir that focus on traumatized veterans in the post-World War II era, up to the twenty-first century and argues that noir thrillers centering on mentally disturbed veterans of World War II allow for both commemoration and criticism of the global interventionism that American exceptionalism legitimized during the Cold War and the Wars on Terror. Paradigmatic noirs construct traumatized veterans to investigate their symptoms of amnesia and paranoia as responses to historical interventions. While the analysis of Fred Zinnemann’s <italic>Act of Violence</italic> (1948) challenges idolizations of members of the Greatest Generation as morally superior immediately after their return home, that of Alan Parker’s <italic>Angel Heart</italic> (1987) probes into how the projection of a Faustian tale upon amnesia connects a post-World War II identity conflict to an anti-communist climate ripe with social tensions. The third veteran noir, the post-9/11 film <italic>Shutter Island</italic> (2010) by Martin Scorsese, conclusively reveals how two paranoid narratives overlap in the films under scrutiny, aiming to deconstruct the patriotic trope of American heroism in their subtexts. (AG)</p>
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This essay looks at some of the American film noir that focus on traumatized veterans in the post-World War II era, up to the twenty-first century and argues that noir thrillers centering on mentally disturbed veterans of World War II allow for both commemoration and criticism of the global interventionism that American exceptionalism legitimized during the Cold War and the Wars on Terror. Paradigmatic noirs construct traumatized veterans to investigate their symptoms of amnesia and paranoia as responses to historical interventions. While the analysis of Fred Zinnemann’s Act of Violence (1948) challenges idolizations of members of the Greatest Generation as morally superior immediately after their return home, that of Alan Parker’s Angel Heart (1987) probes into how the projection of a Faustian tale upon amnesia connects a post-World War II identity conflict to an anti-communist climate ripe with social tensions. The third veteran noir, the post-9/11 film Shutter Island (2010) by Martin Scorsese, conclusively reveals how two paranoid narratives overlap in the films under scrutiny, aiming to deconstruct the patriotic trope of American heroism in their subtexts. (AG)

American Veteran Noirs: Investigating Exceptionalism and Its Post-World War II Trauma

Hungarian Journal of English and American Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

This essay looks at some of the American film noir that focus on traumatized veterans in the post-World War II era, up to the twenty-first century and argues...

American Veteran Noirs: Investigating Exceptionalism and Its Post-World War II Trauma

Publié en ligne: 25 mai 2024

Pages: 203 - 226

DOI: https://doi.org/10.2478/hjeas/2024/30/1/10

Mots clés
Veterans, noir cinema, American exceptionalism, trauma, World War II

© 2024 Atalie Gerhard, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

American Veteran Noirs: Investigating Exceptionalism and Its Post-World War II Trauma

Publié en ligne: 25 mai 2024

Pages: 203 - 226

DOI: https://doi.org/10.2478/hjeas/2024/30/1/10

Mots clésVeterans, noir cinema, American exceptionalism, trauma, World War II

© 2024 Atalie Gerhard, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Mots clés
Veterans, noir cinema, American exceptionalism, trauma, World War II