Utne Reader has partnered with Link TV to present Global Spirit, an "internal travel series" covering the spiritual, mental, and physical practices that define us as human beings. Watch excerpts from the series here, or view entire episodes at the Link TV website. 

In this excerpt from Link TV's Global Spirit program, Dr. Ed Tick leads a group Vietnam veterans back to Vietnam in search of healing.

Political protest and designated green spaces are both uncommon sights in Vietnam’s capital city. Recently however, prompted by the protest of one dedicated woman, the Prime Minister of Vietnam officially halted plans to erect a $40 million, American-backed, 4-star hotel from being built at one of the city’s most historically sensitive sites. 

That site is Reunification Park, which GlobalPost explains was "a signature project of 'socialist labor' in Vietnam. Unpaid students built it by hand between 1958 and 1960 in a swamp that had served as a garbage dump in colonial times." Tran Thi Thanh Van, a retired landscape architect and leader of the crusade, sprung into action when she witnessed a corner of the park getting bulldozed.

“In one of the documents," says Van, who helped build the park with several thousand other young people years ago, "they said that the hotel will become a resort in the city. What is a ‘resort’? Vietnamese people don’t know English, but they understand that a ‘resort’ is a place for the other people, not for them.”

Now, with the help of angry citizens and foreign NGOs, the city is being forced to find a new location and compensate for some of the $15 million investors had already put into the project.

Source: GlobalPost

Image by  alex-s  licensed under  Creative Commons   

Cinema’s response to war has changed since Vietnam, Michael Bronski postulates in Z Magazine. For instance, the war in Iraq has been immediately made into documentaries (No End in Sight and Standard Operating Procedure), independent films (Redacted and Battle for Haditha), and even Hollywood productions (In the Valley of Elah and Stop-Loss), while it took years for many films to be made about Vietnam. Mainstream movies like Deer Hunter and Apocalypse Now weren’t released until the late 1970s, almost a decade after the war ended.

Bronski credits Vietnam with influencing other film genres as well: The slasher film, beginning with Halloween in 1978, was created as an avatar for the senseless killing of American youth during the Vietnam War, and testosterone-swelling action hero films like Rocky (1976), Terminator (1974), and Die Hard (1988) were used to reassert our postwar nation’s masculinity, as if to say, “We could have won in Vietnam!”

Further, Bronski claims that the stoner buddy movie genre, with a new understanding of masculinity, was invented in response to the absurd man-movies emblematic of the “unholy three” (Willis, Schwarzenegger, and Stallone). Films like Dumb and Dumber, Harold and Kumar Go to White Castle and Dude, Where’s My Car? exhibit an apolitical, peace-and-love sense of masculinity that is a direct backlash to action hero archetypes. 

Bronski’s argument is interesting, but I believe he is ignoring some important, much earlier incarnations of this same sensitive masculinity—the two most prevalent examples being Harold Ramis’ Animal House and Stripes. Both of these films, released in 1978 and 1981, respectively, put goofball, slacker men in positions where they are confronted by archetypal masculinity. Further, in both of these films this masculinity is represented by military figures (ROTC Cadet Officer Niedermeyer in Animal House and Sergeant Hulka in Stripes). The characters use disarming and nonthreatening humor to combat aggression, much like modern-day stoner comedies. But, instead of remaining apolitical, the heroes in Ramis’ films are forced to face the warlike masculinity emblematic of Vietnam militarism, proving that nonviolence can be an answer. 

Reading his article made me think of how we view masculinity in our modern time of war. If cinema is any refection, then our current perceptions equate masculinity with naïveté. Films like Jarhead and Stop-Loss present characters anxious to go to war, blinded by masculinity and a sense of duty, then humbled by the true nature of the conflict. Even stoner buddy movies like Harold and Kumar have ignorant über-masculine villains blinded by testosterone. The current trend seems to be that of peace and intelligence, which is itself a critique on war in general.  

It’s impossible to say what, if any, genres will come in response to the current Iraq War, but it seems safe to say that glorified violent masculinity is no longer something to be admired; rather it is a manifestation of ignorance and last resorts.

(Image by Jurek Durczak, licensed under Creative Commons.)