Book contents
- Frontmatter
- Contents
- Acknowledgements
- Introduction: The Uses of Identity in Post-Reagan Hollywood Film
- 1 White Masculinity as Paternity: Michael Douglas, Fatherhood and the Uses of the American Family
- 2 Transactions in Race and Ethnicity: Positive, Negative and Interrogative Images of African Americans on Film
- 3 Putting the Homo into America: Reconstructing Gay Identities in the National Frame
- Conclusion: Aliens from Star Wars to Independence Day
- Index
- Miscellaneous Endmatter
Conclusion: Aliens from Star Wars to Independence Day
Published online by Cambridge University Press: 24 September 2020
- Frontmatter
- Contents
- Acknowledgements
- Introduction: The Uses of Identity in Post-Reagan Hollywood Film
- 1 White Masculinity as Paternity: Michael Douglas, Fatherhood and the Uses of the American Family
- 2 Transactions in Race and Ethnicity: Positive, Negative and Interrogative Images of African Americans on Film
- 3 Putting the Homo into America: Reconstructing Gay Identities in the National Frame
- Conclusion: Aliens from Star Wars to Independence Day
- Index
- Miscellaneous Endmatter
Summary
[silence] … And that's all I’ve got to say about that.
Forrest Gump on the Vietnam War, Forrest Gump (Robert Zemeckis, 1994)Mankind, that word should have new meaning for all of us today. We can't be consumed by our petty differences any more. We will be united in our common interests. Perhaps it's fate that today is the fourth of July, and you will once again be fighting for our freedom, not from tyranny or persecution, but from annihilation. We are fighting for our right to exist. And should we win the day the fourth of July will no longer be known as an American holiday, but as the day the world declared we will not go quietly into the night. We will not vanish without a fight. We’re going to live on. We’re going to survive. Today we celebrate our Independence Day.
Thomas J. Whitmore, President of the USA, Independence Day (Roland Emmerich, 1996)One of the focal moments of the 1994 box-office sensation Forrest Gump is when the eponymous, low-IQ hero is asked to address an anti-war rally in the centre of Washington, DC on the subject of the Vietnam War. Just as Gump (Tom Hanks) begins to speak, the sound system is disabled and neither the onscreen nor the film audience hears what he has to say. When the sound is restored, all that is heard is ‘and that's all I’ve got to say about that’. As we argued in our first chapter, Forrest Gump constructs American identity through the tropes of heterosexual romance and marriage, thereby suppressing the representation of histories of feminism, African American civil rights and gay liberation. Its marginalisation of these narratives and identities, like this speech, cannot be heard by the film's audience. Forrest Gump thus seems to have nothing to say about Vietnam, nor feminism, nor ethnicity, nor civil rights, nor sexuality. But of course, Forrest Gump actually has much to say about these things, concentrating 1960s counterculture in the characters of Gump's wife Jenny and his best friend and comrade in arms, Bubba. The death of both of these characters, the white hippie girl and the African American soldier, allows the film to strategically elide or to demonise representations of American identity that challenge the centrality of the straight white male.
- Type
- Chapter
- Information
- Gender, Ethnicity and Sexuality in Contemporary American Film , pp. 147 - 150Publisher: Edinburgh University PressPrint publication year: 2020