![]() ![]() ![]() ![]() John Moore's Behind Enemy Lines, for instance, readily accommodates the paradigms of the Hollywood action hero genre so that its male protagonist Chris Burnett, predictably acting on his own, might engage in the Bosnian conflict in a manner in which the West never did. Self‐congratulatory Hollywood products such as Welcome to Sarajevo (), Wag the Dog (), and Behind Enemy Lines () tend to simplify the Bosnian conflict by creating an easily demonized Other and re‐creating an historically false interventionist West.
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