Independence Day, Or, How I Learned to Stop Worrying and Love the Enola GayThis is a major study of Independence Day, a key film of the 1990s. Rogin examines how such an apocalyptic, anarchic and violent film managed to achieve such acclaim, and suggests that it serves American power in the name of attacking it. He analyzes how the film reimagines American society and rewrites American history. Propaganda disguised as escapism, it salves American anxiety - about race, sexuality, disease and war - by means of delirious movie-making. Rogin dismisses the claim that the film is harmless entertainment, arguing that it is of the utmost significance - the defining motion picture of Bill Clinton's America. |
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2nd Unit advertised AIDS Air Force alien spacecraft American Area 51 Asian atomic age atomic bomb Bill birth Blackface blockbusters body politic Chicago Hope Cinema of Attractions climax Clinton Co-ordinator Cold Cold War contemporary David Dean Devlin destruction Digital Visual Effects Dole Emmerich and Devlin endorsement Engelhardt Enola Gay entertainment ethnic extraterrestrial flying saucer Forrest Gump giant Heaven's Gate History Wars Hollywood holocaust human Independence Day Indiana Jones International Herald Tribune invaders invisible shield James Jeff Goldblum Jewish Jewish-black Jews Jimmy July Linenthal Lucasfilm Michael Rogin military mothership motion picture movie multicultural Newsweek Nimziki nuclear orifice pilot political correctness President Presidential produced Randy Quaid Robert Zemeckis Roland Emmerich Russell Casse Schindler's List science fiction sexual space ship special effects Star Wars Steven Spielberg Strangelove Supervisor Twentieth Century Fox UFOs University Press Vietnam virus viruses vulnerable Warner Bros Washington weapons White House William World World War II York
References to this book
Aesthetics of Law and Culture: Texts, Images, Screens Andrew T. Kenyon,Peter Rush No preview available - 2004 |