Abstract

The Deer Hunter's controversial representation of the Vietnam War reveals how violence figures an imaginary relationship between the American subject and its Oriental other. This article examines the film's reception and relationship to media images of the war, particularly Eddie Adams's photograph Saigon Execution.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 89-106
Launched on MUSE
2005-03-03
Open Access
No
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