The End of Victory Culture: Cold War America and the Disillusioning of a Generation (Revised Edition with new preface and afterword) | 
 enlarge | Author: Tom Engelhardt
Publisher: University of Massachusetts Press
Category: Book
List Price: $26.95
Buy New: $19.99
You Save: $6.96 (26%)
New (21) Used (8) from $19.99
Avg. Customer Rating:  7 reviews
Sales Rank: 614264
Media: Paperback
Edition: 2nd
Number Of Items: 1
Pages: 387
Shipping Weight (lbs): 1.4
Dimensions (in): 9.1 x 6.1 x 1.2
ISBN: 155849586X
Dewey Decimal Number: 306
EAN: 9781558495869
ASIN: 155849586X
Publication Date: July 1, 2007
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: New, no remainder mark; cover may show slight shelf wear.
|
| Also Available In:
|
| Similar Items:
|
| Editorial Reviews:
Product Description
In a substantial new afterword to his classic account of the collapse of American triumphalism in the wake of World War II, Tom Engelhardt carries that story into the twenty-first century. He explores how, in the aftermath of September 11, 2001, the younger George Bush headed for the Wild West (Osama bin Laden, "Wanted, Dead or Alive"); how his administration brought "victory culture" roaring back as part of its Global War on Terror and its rush to invade Saddam Hussein's Iraq; and how, from its "Mission Accomplished" moment on, its various stories of triumph crashed and burned in that land.
|
| Customer Reviews: Read 2 more reviews...
 Book Review: "The End of Victory Culture : Cold War America and the Disillusioning of a Generation" April 9, 2006
14 out of 15 found this review helpful
American "triumphalism" and the American "war story" began its decline after WWII and collapsed completely after Vietnam (or so the author thought). The victory myth is constructed out of an America history that has its roots in the Puritan struggle. The US had always fought against the evil oppressors of freedom, democracy, and the freedom of peaceful worship. The myth of American triumph was part of 1950s "boy culture" and was depicted on screen in the justifiable slaughter of Indians on the western frontier; cowboys and /or Cavalrymen who rescued families and females from savages; science-fiction and vengeance movies, and eventually in galactic villians and Evil Empires. War stories and movies consumed by Baby Boomers vindicated the annihilation of (usually non-white but always non-American) villains.
Central to the maintenance of the victory culture in American is the "war story" a tale in which there is an evil Other who threatens the United States. Contributing to the end of victory culture was the almost immediate reevaluation of the atomic bombing of Japan after WWII; an event that left the United States looking more terrifying than protective . The Cold War followed the euphoric victory of WWII . In the Cold War there was no victory or defeat; and the enemy and self became blurred and threatened to merge. Many of the villains in the Cold War were other Americans; rather than victory, the US sought containment. Then came Korea, a failed police action, better off forgotten. The Vietnam War was a disaster. Even the president lost enthusiasm for a battle where there appeared to be no definable enemy. Even the sacred cowboy was attacked as racist during the d?nouement of the victory culture. New westerns depicted sociopathic bad guys in cowboy hats rampaging around the West hunting down innocent Indians. In the late 1960s, even military toys were transformed into action figures. "Boy culture" was not recaptured until Ronald Reagan appeared on the scene with his Star Wars rhetoric. George H. W. Bush seized on the opportunity to eliminate the evil dictator Saddam Hussein; only to have his efforts to win a "war to re-establish war, American style" and capture the bad guy fail.
Engelhardt is an active journalist and writer who was surprised in 2000 when the United States elected George W. Bush President. Geroge W. Bush, he says, is a man "who had stayed way too long in those dark movie theaters" watching cowboys and Indians; a man who managed to evade both sides of the Vietnam War debate; a man who glories in the victory clture and wants to relive a period in American history when bugles blared, crowds cheered, and flags waved. In The End of Victory Culture Engelhardt failed to predict that 2005 would see a US President whose dream is to "dress up like G.I. Joe, [and] appear in front of massed ranks of soldiers chanting "hoo-rah," and assure the crowd he was going to bring `em back dead or alive (tomdispatch.com). This book's value is in its examination of the impact of popular culture in shaping public perceptions of the US and its place in the world. Sources include popular culture products such as Mad magazine, TV shows, monster movies, and westerns. Tom Engelhardt graduated from Yale University; he is a book editor and a freelance journalist. He maintains a website, www.tomdispatch.com; is co-founder of the American Empire Project; a consulting editor at Metropolitan Books; a fellow of the Nation Institute; and lecturer at the Graduate School of Journalism, University of California, Berkeley.
one of my favorites... March 23, 2006
9 out of 9 found this review helpful
With the outcome in Iraq still uncertain more than 3 years after the U.S. led invasion, many people have blamed the media for not being critical enough at the outset of the war. Additionally, as the war rages on, comparisons to Vietnam are becoming especially noticeable as a growing number of people continue to question our involvement in Iraq.
These two relatively recent phenomena of questioning the media's role in wartime and the tendency for U.S citizens to be skeptical of their government during war took root during the Vietnam war.
According to Tom Englehardt in "The End of Victory Culture," prior to Vietnam the media played a key role in perpetuating the idea of a noble and just United States battling savages of color including Native Americans and Japanese soldiers in World War II.
The public eagerly imbibed this "victory culture," regularly attending movies featuring John Wayne defending America by battling Indians; playing games like "cowboys and indians;" and reading cartoons featuring horribly caricatured Japanese and Chinese soldiers, never questioning the integrity of the government or doubting United States policies.
A seismic shift occured during Vietnam when, for the first time, Americans became especially frustrated over a war that could no longer be justified by statements from the President. Demonstrations raged throughout the country as the once sacred tenants of U.S. heroism and leadership were shattered.
During this time, the media's role transformed as well. Rather than mindlessly trumpeting American nobility, the media worked doggedly to unearth the truth. David Halberstam's coining of the term "quagmire" when referring to war and Morley Saffert's piece revealing the horrible killings of helpless Vietnamese villagers are just two examples that Englehardt cites.
Although accounts from Vietnam and World War II comprise the bulk of Englehardt's thesis, he provides copious examples of the movies and excerpts from television programs when talking about the 1980's in an effort to further demonstrate the dismantling of the "victory culture."
Brilliantly written and extremely well documented, Englehardt has written a gem of a book that remains as relevant today as it was 11 years ago when it was first published.
A different perspective on post-war culture and history March 7, 2006
15 out of 15 found this review helpful
Tom Engelhardt's dense but throughly readable cultural history presents the past fifty-six years of American history as an investigation of narrative. A common theme in analysis of nationalism and nationality is the concept of an historical narrative that members of a nationality look to for explaining their present position within their world. Engelhardt investigates a time period that saw, as he argues, a violent uprooting and reconfiguration of the American cultural narrative.
This narrative makes use of a wide ranging set of metpahors and images, such as the frontier and its mythology of American innocence, that have helped Americans understand their position within a complex and ever changing world. World War II provided the last war in which the innocence of America was posited with little debate (although the dropping of the atom bomb indeed challenged this innocence).
The beginning of the cold war and military endeavors in Korea and Viet Nam saw a gradual erroding of this narrative of innocence. As the enemy became harder to identify, at times even looking like ourselves in the case of anti-communism, the moral clarity and absolute innocence of American military actions disolved. Engelhardt takes a sweeping view of the last half-century of American history and tracks the profound shift in narrative and cultural understanding that we are still dealing with. It would be interesting to see what Engelhardt would say about September 11th. I would argue it has restored much of America's innocence, allowing us to attack Iraq with little domestic objection.
Engelhardt writes with an engaging voice helping to make what could be a tedious read quite enjoyable. At times his ideas can be difficult to connect, making this a book to be tackled as quickly as possible so that the plethora of information and full scope of the analysis can be engaged without loosing what was written in earlier pages. Do not expect any sort of 'traditional' work of history. This is for the students of American culture and anyone interested in the intricacies and complexities of the American identity. When you read this book, to a large extent you are learning about yourself.
 Good on Media, Bad on History September 12, 2005
21 out of 33 found this review helpful
Although he provides an in depth analysis of the modern media's role creating stereotypes of "non-whites", he actually attempts to say that this was the primary motivater to fight our "enemies" for centuries. This, of course, is nonsense. The Revolutionary War, Barbary Wars, War of 1812, World War I, and a large portion of World War II against the Rome-Berlin part of the Axis were against "white" people. And I'm probably missing other major conflicts.
Further, to say that America is unique among countries in using color or ethnicity to denigrate a people it is either at war with or has hostility towards is totally absurd. It's par for the course throughout the history of warfare and culture as a way to motivate its people to carry out and tolerate the acts of war. Unfortunately, he lets his biased political opinions biasedly spill into the pages of his book.
Nevertheless, he does an excellent job describing the power of the media to work as the Government's collective propaganda machine in their portrayal of the "eastern bloc" countries as the Cold War rose from the end of World War II.
A story of "we" against "they" January 3, 2003
63 out of 68 found this review helpful
Tom Engelhardt's The End Of Victory Culture is a thought-provoking, historical look at how the concept of defeating a less-than-human enemy was part of American culture. Ingrained in that was the mission to defeat that enemy. The trouble was, the enemy was human, be they the Native Americans the colonists and later the American government displaced. We also had this mindset that we were always on the right and they were always wrong, therefore, they had to be defeated.One element was to exaggerate the atrocities committed, meaning that yeah, some of it happened, but not in the large scale depicted by the white leaders to drive home the point that we had to kill these unholy, ungodly, . Colonist Mary Rowlandson's accounts on her captivity and the massacre she survived was the archetypal demonizing of the "enemy."Victory culture nestled itself cozily in new visual media--the movies and television. Basically, the enemy performed some horrible atrocity on innocent whites, and it was up to the heroes to punish the enemy. The enemy would be defeated, more often than not killed, and everybody would live happily ever after. Straight and simple. It was in straight black-and-white (the issues as well as the early programs before colour TV and film came into being). Engelhardt argues that between 1945 and 1975, the ends of WW2 and Vietnam respectively, that victory culture ended
Pearl Harbor gave plenty of opportunity to dehumanize the Japanese as an enemy, along with Adolf Hitler and Benito Mussolini. The Cold War was where it all went into overdrive. The Communists were now the enemy, and that paranoid ideological struggle into the unknown carried through not only into Korea and Vietnam, but into movies, TV shows (Twilight Zone), comic books (Tales From The Crypt, MAD), and even toys (GI Joe). A new dynamic also came, of the enemy hiding behind some citadel or bunker, such as the Forbidden City or Kremlin, with only large posters of the leader representing the human face of the enemy. Thus the enemy couldn't be destroyed. Vietnam demonstrated once and for all that we were fallible, and for a while, we were in a funk. And with My Lai, WE became the massacring enemy, the Vietnamese the colonists. The concept of victory culture was turned on its head with that event. And think about it: we lost Vietnam for the same reasons the British lost the American War for Independence. History has come full circle to America. This book came out in 1995, and early on in the book, Engelhardt makes a well-worn but important point: "with the end of the Cold War and the loss of the enemy, American culture has entered a period of crisis that raises profound questions about national purpose and identity." Ponder that passage, and what's going on today in the world. The main thing to ask today is, do we really need to have an enemy and a war to unite the people together? Peace and harmony can do the same thing. We do not need victory-for-one-side culture anymore. What we need is victory-for-all culture.
|
|
|
