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The Representation of American Soldiers in Behind Enemy Lines the Movie Nuri Aprillia R. Class A 0806356124 Since a slogan War on Terror is widely-known, public become more concerned on the image of nations in the world, especially if the countries are known to be involved in world conflicts. Various portrayals of certain nations or groups like America, Arab, or even Muslim bodies have been widely covered in one kind of mass cultures like movies, as the media seems to be quite effective in penetrating ideas targeted to a larger audience. Moreover, since 9/11 incident, public sphere seems to be still wafted by the issue of relationship between the U.S. and Muslim. This paper tries to scrutinize the issue, occurred in a movie Behind Enemy Lines where American soldiers, Serbian, and Muslim are portrayed. It is argued that the American soldiers are presented in a positive way while the rest are the opposite. This paper then concludes that the good construction of the American soldiers here will contribute to the reinforcement of the U.S. hegemony. It is hoped that this research will provide an insight into understanding films more critically.
ABSTRACT KEYWORDS: American, BEL, Muslim, Orientalism, Representation, Serbian

Introduction The aim of this essay is to analyze how American soldiers are represented in the U.S. movie Behind Enemy Lines. After the 9/11 incident, many U.S. filmmakers seem to be at a fever pitch in producing movies dealing with war issues, especially if the issues are related to Muslims. The movie Behind Enemy Lines (2002) highlights a story of an American pilot trying to escape and save himself from Serbian rebels, as he has taken some snapshots of Serbians genocidal action against Bosnians, who are mostly Muslims. This essay will look at some substantive portrayals suggested by the movie to the audience, which are the good-or-bad depictions of Americans, Serbians, and Muslims. This will be done by looking at a number of cinematic aspects like camera angle, mise en scene (all elements that are presented in the film frame), sound, and also the use of Hegemony theory proposed by Gramsci, who demonstrates that the penetration of ones ideology into the common sense and everyday practice of a particular group can reflect each of their statuses (dominate/subordinate) (Cited in Schneeweis 2005, p.80). Therefore, this essay will shed light on how ideology in film and cinematic elements can be used to build certain images of the subject presented in the movie, which can possibly be a propaganda tool by many parties in the movies production.

Throughout this paper, I would like to demonstrate that villainous portrayal of Americans enemy in Behind Enemy Lines is basically a key to a good image-building of American soldiers throughout the world, who are directly involved in wars. As the movie deals with war issues, there will be a good and evil character presented to the audiences. My hypothesis is that the movie creates America in a heroic image while both the Serbians and Muslims become the villains. They are portrayed as the Others, who are dehumanized and always need Americas help. This constant portrayal then not only builds a good image of American soldiers but also reinforces the superiority of the nation. The representation of America as well as other nations in Hollywood cinemas has been widely covered in former studies. Especially after the 9/11 attack, there are numerous studies covering the portrayals of Arab and Muslim in textual as well as visual media. We may suggest that this academic phenomenon is interlinked with plenty of fictional works, notably Hollywood cinemas, dealing with such issues. Sulaiman Arti (2007: 1) argues that Hollywood has always played a propagandist as well as a limitative role for the American imperial project, especially, in the Middle East. This role is confirmed by John Coness speech (a film expert) The Roles of Movies in a Democratic Society (cited in Xiaodong 2010, p.23), which demonstrates that Hollywood is like a manufacturing consent. It means that Hollywood has become a very influential agent in shaping peoples opinion toward certain issues. This is simply not because Hollywood is the U.S.s property, but as noted by Hall (cited in Schneeweis 2005, p.81), a dominating culture (values, ideas) developing in a society are carried out primarily by producers, artists, mass media, show business, and corporate elites (all of them signify Hollywood), as well as by writers, journalists, teachers, bureaucrats, schools, and advertisement. Meanwhile, Schneeweis own study (2005) concerns on how Americas hegemony is reflected in a Romanian public televisions programme, The Bad News Bears. Likewise, besides dealing with Hollywood portrayals of Muslims, this paper is also intended to look at the U.S. hegemonic messages presented in the film, and how American soldiers are represented by the lens through which their enemies are portrayed. This last point is what might be a further insight of the very recent study conducted by Anaya (2011), which examines how Japanese and Vietnamese forces are represented in American films. Hegemony and Orientalism

At times, the concept of both hegemony and Orientalism might deal with a similar discourse; an ideology closely related to representation. Ideology, according to Marx in Hawkes (1986, p.98), consists in an inability to recognize the mediating function of representation, in assuming that it is an autonomous sphere, and thus mistaking the appearance for the thing-in-itself. This idea is reflected in a hegemony theory conceptualized by Antonio Gramsci, demonstrating that hegemony is the implementation of an idea through which the dominant group can establish its sovereignty (Hawkes 1996, p.117). Meanwhile, Orientalism, a post-colonial theory proposed by Edward Said, deals with a relationship between the Occident and the Orient, in which the Orient is often represented as culturally backward, peculiar, and unchanging (Daniel 1996, english.emory.edu). Here, the Orient does not merely refer to somewhere in parts of Middle East or Asia. As Said (1978) (cited in Clarke, rlwclarke.net) argues, it is an idea that has a history and a tradition of thought, imagery and vocabulary that has given it reality and presence for the West. The term the Occident and the Orient are then recognized and widely used as self and other respectively, as Post-colonialism studies mainly center on self and other relationship (Moosavinia, Niazi, Ghaforian 2011, p.105). As Orientalism suggests, the Other is used to define the Occident self identity by viewing it as the selfs binary opposition (ibid, 104). Xiaomei Chen (Cited in Van Pelt 2000, pmc.iath.virginia.edu) confirms this notion, stating that it is very unlikely to obtain a balanced light between the idea of self and other without having them compared to one another, historically and culturally. Templeton (2007), however, has a slightly different opinion. He notes that the difference between the Occident self and the Orient other is not appropriately defined by Said, as he constructs Orient term in a holistic unit because of its exoticism, and its otherness to the West, rather than because of any commonality of features within itself (qub.ac.uk). Nevertheless, it is also significant to know that the Self, as noted by Peter Childs & Roger Fowler (2006) (cited in Moosavinia, Niazi, Ghaforian 2011, p.105) is always viewed positively, contradictory with the Other. Orientalism, furthermore, with its binary opposition concept, has become an intriguing and influential work in many disciplines, such as feminism, psychoanalysis, postcolonial, and queer theory (ibid). Likewise Orientalism, understanding hegemony concept is also essential to deal with ideological issues. According to Gramsci in Laitin (1986, p.105), hegemony, residing in civil society, provides a bulwark in support of political society. In order to maintain power, coercion

from the ruling class and consent from the ruled are needed from the society. Gramsci sees that the coercion is no longer needed to exercise power as long as the consent from the civil society, well-resulted from the hegemony within it, is influentially still working (ibid). However, Perry Anderson seems to have different light on this. He states that the coercion-consent occupying each party (civil-political) cannot be consistently maintained (ibid, p.106). Hegemony, as Laitin also confirms, is not enough to exercise in civil society only (ibid). Orientalism and the concept of hegemony both offer insights about culture and ideology that develops in a society. These two last-mentioned concepts are at times appeared in the form of representation. Works such as literature or other mass media productions like books or movies constitute effective means in presenting the representation. In relation to this paper, which deals with representation of particular subjects presented in a movie, I attempt to see how these two theories (hegemony and Orientalism) are applied in the act of representation. Methodology John Moores Behind Enemy Lines (2001), written by Jim Thomas, was produced by the 20th Century Fox in the USA. Starring Owen Wilson, Gene Heckman, and Gabriel Macht, the movie offers us a drama of war-action. It is a story about Chris Burnett (Wilson), a lieutenant who scorns war, who gets serious trouble while doing a reconnaissance mission over Bosnia with his fellow, Lt. Jeremy Stackhouse (Macht). Their jets were shot down by the Serbs, who realize that the two lieutenants have taken some photographs of Muslim Bosnians mass murder grave. Stackhouse ends up being shot to death while Burnett has a long run escaping from the Serbs chase, which makes the movies plot. The first time I watched this movie, I was intrigued by the characters depicted. How American soldiers are portrayed as heroes for Muslims in this movie was quite baffling for me, as the facts I obtained from many sources are quite contradictory. Thus, this movie occupied my mind. When I eventually learned the concept of Orientalism and tried to find the issue in a movie, Behind Enemy Lines was the one that I firstly recalled. Furthermore, I personally believe that this movie can be an example of proving that Orientalism can also be applied not only to the West-East relationship, but also to the West-West (USA-Serbia-Bosnia) one. While watching the film, I pay extra attention to the movies plot and narrative. Plot refers to both the internal and external elements of the story, which make the spectators see the material

in the film visibly and audibly (Bordwell & Thompson, 2008: 76). Narrative, meanwhile, is a chain of events in cause-effect relationships occurring in time and space (ibid, 75). I select these two elements because they are closely related to characters. In the narrative, characters are the agents of cause and effect (ibid, 77) while the plot will reveal the traits of each character (ibid, 78). I also try to focus on how the film distinguishes characters by looking at the cinematic elements such as props. Moreover, in the process of analyzing the characters, the two theories I mentioned in the previous section will be applied. Eventually, with a hero trait the main character bears, I assume that this movie suggests to the audience several points. First, Muslims are weak, and thus, always need Americas help. Second, the Serbians are the villains who always do evil things. Last, America is always superior, as reflected in the images the film presented. As Althusser (1969, cited in Schneeweis, p.85) states, those images are at times used to convey representations of ideology. Analysis Movies as a form of media communication clearly function not only as a medium to transfer information, but also as a tool to shape it. As Gallant states, mass media of communications (TV, radio, newspaper, magazines, books, and motion pictures) can act as a language, and languages can also function as filters which can shape and influence how we perceive the world (Norlin, 1976: 5). In every movie, thus, there must be messages trying to be asserted to the audience. Like movies, each media will have its own representation to the object presented, depending on the objectives of the media. In the movie Behind Enemy Lines, hereinafter stated as BEL, there are three main objects being represented, which are American soldiers, Serbians, and Muslims. They are represented through the character of Chris Burnett (the American navy pilot), Sasha and Lokar (the Serbian), and Muslim Bosnian citizen. Representation, furthermore, is a term in which ideas or aspects of reality such as people, places, objects, event, and cultural identities are built in certain ways, occurring specifically in mass media, regardless of its form, textual or visual (aber.ac.uk). In BEL, the representation occurs both in textual and visual medium. The textual medium refers to the dialogues in the movie, signifying the characters trait. Visual medium, on the other hand, refers to any visual object presented in the film such as setting, costume, props, even facial expression of each character.

As mentioned earlier, the representation of American soldiers is seen through Burnetts character. A navy-pilot Lieutenant Burnett is depicted as a talkative, critical, challenge-loving, and senseless. The story reveals that Burnett is trying to sign out from the navy, as he actually resents war. Sir, I signed up to be a fighter pilot. I didnt wanna be a cop walking the beat in a neighborhood no one cares about. That and the routine on the ship kinda wore me out. During a lunch chat with Captain Glenn, the audience is also suggested to the hearty American soldier. Dont you forget what youre doing. Youre a navy pilot. You dont get to pick your fight. It comes to you. Burnett then responds, yeah I get it. But at least give me a fight I can understand. From these dialogues, we know that the soldier is portrayed as a good person who does not like violence. Burnetts character, which is challenge-loving and senseless, actually serves to a certain purpose, which is to construct certain emotion that later will influence the audiences feeling in experiencing the films form. According to Bordwell and Thompson, form is the overall system of relations that we can perceive among the elements in the whole film (2008:55). It functions as film clues which involves in the film systematically so that the spectator can frame certain expectations or draw certain inferences (ibid, 56). In BEL, the films form leads the audience to sympathize with America even though the soldiers have been foolish and senseless by violating rules that are agreed by both the American and Serbian, which is not passing a demilitarized zone during a peace process. The films form begins with the viewing of a talkative Burnett delivering foolish remark to his fellow, Stackhouse, on a jet. Bill Gates has more money than Peru. Now, he needs someone to fly his jets. We oughta be flying for him. A non-diegetic element is presented, which is a back sound of a cheerful song What Id Say by Ray Charles that is played while Burnett is having a kind of baseball exercise with his fellow soldiers. Laughing with friends and trying to catch the ball that is about to ground, the activity that is not commonly done in a naval ship is presented in the film. This scene serves as a means of constructing the character of a cozy Liutenant Burnett. The film then directs the audience to the scene where Reigart Lesley responds to Burnetts resignation letter, which then causes Burnett to do a reconnaissance mission. While doing his mission inside the jet, the talkative Burnett delivering foolish talk is again presented to the audience. They then fly over the demilitarized zone and takes some pictures, which is realized to have been captured a genocidal grave.

The film then directs the audience to a starting point of the films conflict, which is the attack on the American jet that makes the two soldiers collapses and get lost in a forested area. The attack is done by the Serbian soldiers
Figure 1. 00:21:55

using three missiles that chase and fire the American jet. The framing. The first one is to view a significant object, often focus only on the facial expression or other details of the object (Bordwell & Thompson 2008: p.191). Within this duration, the close-up distance of framing is for viewing the

duration of the scene starts from 19:14 up to 22:27, taking a close-up and a long-shot distance of

Figure 2. 00:20:37

panic of the two soldiers, how they try to handle the missile, hand, is frequently taken to view the part where the missiles chase the jet (see Figure 2). This long shot then gives a notion to the audience of how evil the Serbian is as the shot permits the viewer to see how fast the missiles chase the jet. As the missiles have encountered the jets body, the shot is

and the damage of the jet that the missiles have caused (see Figure 1). The long-shot, on the other

Figure 3. 00:22:16

given in a close-up distance so that the focus of the spectator is directed toward the breakage of the jet, causing the viewer to have sympathy with the trouble experiencing by the American soldiers (see Figure 3). Furthermore, even though the jet has flown over the restricted area which causes the soldiers to have the trouble, the audience does not seem to blame the soldiers. From the very beginning of the films plot, the spectator has been introduced constantly by the senseless Burnett character. That is why the decision of flying over the restricted area has been predicted by the audience to happen. Moreover, the story informs the audience that their flying over the demilitarized zone is motivated by their curiosity in checking out what activity that occurs in it, as theres shouldnt be any. When Stackhouse then warns him of the restriction on flying over there, Burnett just replies, hey, were on recon, so lets recon something. Stack, its probably just some locals fooling around. Could be a good opportunity to test our shiny new digital camera. As a result, the audience considers their violating rule as a kind of curiosity-quencher and havingfun activity to test our shiny new digital camera, both of which are not intended to really break the agreement.

The fact that there is an activity which should not be occurred in the area also suggests that the American soldiers checking out there is not completely wrong. Therefore, when the Serbians respond to it with an attack, the audience feels that the Serbians action has carried too far so that the American wins the sympathy of the spectator. Besides, the portrayal of the Serbians is depicted in a negative sense in the film. As the narration comes to introduce the audience of the Serbians, the scene portrays a smoking man (later known as Lokar) chatting with his fellow in an unknown dark place. The man is shot with an extreme close-up technique so that the visible look of him is only his lips or his eyes. This extreme close-up shot suggests a mysterious character to the audience, and as he talks about fight, we cant fight everyone at once. Think. Less emotion. Youll live longer. this part then prepares the audience to know that there will be evil things done by him in the next scene. The movie then offers the audience the Burnett-Stackhouse exploring the demilitarized zone, which results in the Serbians missile attack. This missile attack seems to be resulted from Lokars order, as suggested by the film. In the next scene, Lokars full face is finally shown in a medium long shot, portraying that he is making a call with a man outside the room (later known as Sasha), who then shoots the missiles out. This plot clearly confirms the spectators expectation of the evil Serbian (Lokar). The good image-building of America is also built by making a binary opposition with the Serbian, in terms of the films setting. The Serbian headquarters is presented in a dark and alienated space, located in the middle of the forest
Figure 4. 00:18:29

(see Figure 4). The house in which the boss and the Serbian

soldiers occupy is also portrayed as a narrow, messy, and dark place. This is quite contrast with the portrayal of the Americans naval headquarters which seems so sophisticated. The naval ship is shot with wide-angle and high-angle shot so that the audience can see how many modern technologies they have and how large and great their headquarters is from the above (see Figure 5). The Serbian, on the one hand, is just presented to have some tanks, open cars, and weapons like Kalashnikov. The way the film depicts the Serbian occupation is just to use medium long shot so that it just permits the audience to view the people and their nearby surrounding, signifying that the place is not large. Like Burnett, the evil Serbian is seen through the character of Sasha and Lokar. When the Serbian soldiers

Figure 5. 00:01:44

are dismantling the Burnetts jet, the audience is presented with Lokar saying evil things, I had to shoot him down. He saw everything. I want every scrap of this plane. The Serbian soldiers dismantling the machine look so gratified. The surrounding is dark as they yell Navy Assholes. Yankee Navy Assholes. While crying this out, the soldiers are brandishing their weapon, shooting out many missiles up to the air. This portrayal suggests to the audience that they are rebellious and like war. In comparison to the American when they get their victory over the Serbian in the end of the film, they are not depicted as soldiers who like shooting out their missiles. Even the back sound uses a triumphant melody, which is often used to describe heroic action. The contrasting image between the American and the Serbian can also be seen from each characters relationship with others. Sasha is depicted as a talk less and friendless person. There is so little conversation delivered by him, and there is also no hints in the scenes about Sashas making friend. The audience is just given Sashas action while tracking the runaway Burnett. Being careful, persistent, and smart, he uses his intelligence and snipers capability to track and try to kill Burnett. The movie depicts him as a person who is always successful in finding the enemy. The spectator is shown that Sasha is the one who can find the location of where Burnett and Stackhouse falls, can track well wherever place Burnett has passed, and even recognized that the dead body in an Americas soldiers uniform claimed to be Burnett is not the real Burnett. However intelligent he is, the emotion made about him makes the spectator does not like him, as from the very beginning he has been portrayed as a cruel soldier. The audience is presented by his action releasing the missiles, shoots Stackhouse to death, and other shooting action in the attempt of killing Burnet. While Burnett is unarmed, Sasha is always equipped with his sniper, suggesting to the audience that he tries to prey on an innocent target. Unlike Burnett, the relationship between he and his boss is just about business, characterized by the absence of informal dialogues between the two of them. Their dialogues that are presented to the viewer are merely about Burnetts whereabouts. This actually confirms to the audience that the Serbian is selfish, and even reinforced by Sashas ignorance in helping his companion that has touched a bomb that is about to explode if his companion makes a move. Instead of helping him, he points his gun toward him saying, dont move or I will shoot you. In contrast with Sasha, Burnett is very talkative and has many friends. The audience is made aware of this as Burnett is frequently shown socializing with his partners on the ship, like

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when he performs baseball exercise, chatting with Captain Glenn, and even when he is known to have been shot down, his partners in the navy seem to be so anxious and always in alert to help. How soon can your team be ready? Were ready now sir. All I need is a ride. Even though the relationship with his leader, Reigart Roger Lesley, is not being good due to Burnetts recent disorderly behavior, the film still portrays that their relationship is actually quite friendly. Even though they are in a formal relationship, in one occasion, the relationship depicted turns out to be more family-like. For example, when his boss asks him to keep moving to the safe zone, he greets him with Son. You need to get there, stay out of trouble and Big Mother will pick you up. Burnett, then even replies him by greeting him by his name. Roger, will you be there, Sir?. The boss then says, Thats affirmative, Son. These greetings, Big Mother and Son are used for a family relationship, and suggest to the audience that there is a warm relationship between them, which is not experienced by the Serbian. From all of these depictions, it is clear that all good things (bright setting, sophisticated technologies, and good socialization skills) are presented for America (The Occident/West) while the bad things (dark places, barbaric people, cold relationship with others) are for the Serbians (The Orient). As the Orientalisms suggests, the binary opposition will construct the Orient as everything that the West is not, exotic, alien, dangerous, unreliable, to be tamed, exhibited, a threat to the West. (Moosavinia, Niazi, Ghaforian 2011, p.105). This binarism includes the simple characteristic and the complicated ones such as the distinction of light/dark, white/black, civilized/uncivilized, man/woman, the colonizer/the colonized, and the self/other (ibid). The Self will be constructed in a positive way and the Other will have the negative one, as noted by Childs & Fowler (2006) (cited in Moosavinia, Niazi, Ghaforian 2011, p.105). Besides the Serbian, the good image of America is also built by presenting a weak character, which in this film, Muslims are chosen for. This weak character then will become the other Other/Orient who will confirm the superiority of American. As stated by Ashcroft, Griffiths and Tiffin (2000) (cited from Gill 2006, qub.ac.uk), the discourse of Orientalism persists into the present, particularly in the Wests relationship with Islam, as evidenced in its study, its reporting in the media, its representation in general. This is what might probably become the reason of the choosing. In the movie, the Muslims are portrayed as people who are demonic, helpless, and need Americas help. In a scene where Burnett arrives in Hac, which is then described in the movie as

Figure 6. 01:10:39

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Muslims occupation, the audience is given a negative emotion about the place. The place is so messy with many ruined buildings, and there is a shooting action happened. The graffiti of Welcome to Hell is shot the time Burnett enters the place, preparing the audience that the place will be occupied by many evil people. When Burnett finally enters a room to avoid the war outside, he sees Muslims looking at his face, realizing that he is an American navy pilot whose incident has become coverage on TV. One Muslim man then pulls him, saying What were you bombing with a menacing expression. No bombing. We were taking photographs. Photographs of what? Lokars come back here again, killing everyone. A young man called Ice Cube, whom Burnett meets on the van heading to Hac then says to Burnett, its true. Lokar killed everyone. Children, women buried them up in the hills. Burnett then says, in the hills? Yes I saw them. I saw the graves. I saw the bodies in the hill. Tell him, I am an American. I am on your side However, directing his gun to Burnetts face, he says, then u go outside. Tell them youre an American. They dont kill American. Ice Cube tell them, tell this guy that we have photographs that can help. A close-up distance is shot to the Muslims face, making the spectator focuses on how angry he is (see Figure 6). Before throwing Burnett outside where Lokars soldiers have just arrived and shoot everything, he cries out, bullshit. America say they make them sign deal but they already break it. America government for shit. Now go! From this scene, the audience is suggested that the Muslim is so obstinate that he does not want to listen to Burnett. The viewer also feels that the Muslim is evil as he keeps threatening Burnett with his gun. As the viewer has so far been presented Burnetts tough journey and his honesty seeing the grave, the Muslims stubbornness in not believing Burnett makes Muslims character seems stupid and evil. His harsh remark of shit and his bad suspicion what were you bombing then reinforces the Muslims demonic character. Burnetts response, on the other hand, suggests to the audience that America is really a hero that can help. In other words, his remark also implies that the Bosnian Muslims are weak and need Americas help in order to stop being suffered. All of these portrayals that make Americans image become more positive are also clearly a product of American hegemony. As Gramsci states (cited in Schneeweis 2005, p.80), hegemony is a penetrating ideas and consumption into the routine activities of the subordinate people to

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gain their consent. Through BEL, America tries to assert the idea that their nation and soldiers bear positive characteristics. This idea is penetrated into a movie, the mass culture that is consumed by many civil society whose consent is highly desired. According to Said, it is civil society that will exercise certain culture in which ideology working on it will be applied (cited in Clarke, rlwclarke.net). In BEL, the hegemonic message that is trying to develop is the idea that American product is well-known everywhere. In one scene where Burnett tries to escape from Sashas chase by asking to join a ride in a van he runs across on the road, he joins some locals who are mostly youngsters. One guy called Ice Cube, then looks at him smiling, as he asks whether he is American. The close-up distance in shooting the guy smiling at Burnett suggests to the reader that he likes American. When Burnett asks him for water, the guy then ask his girl friend to give him water, which then later Coca Cola is given. Here we may ask, in a war situation (characterized by the guys holding gun), why must Coca Cola, an American product of drinks, is presented? The guy then is viewed to wear Ice Cube shirt, American musician, who then declares, yes, Ice Cube. I like all hip hops, rap music, West Coast, East Coast, NWA, Public Enemy. Singing rap music, he utters, They said stop, freeze. I got froze up because Im Public Enemy number one. One one one one. Seeing that, Burnett just smiles saying, thats good. Thats good. This scene suggests to the spectator that whatever the situation is, Americas pop culture is enjoyed by many people, which then confirms Americas superiority throughout the world. Conclusion This research attempts to explore the representation of American soldiers in Behind Enemy Lines the movie. By considering the issue of Orientalism and hegemony occurred in the film, it is found that the good image of American soldiers are built through representing their rivals in their opposite. These opposites are applied in constructing each of the characters, settings, and relationship with others, all of which are also built by using certain cinematic elements like the framing technique. The good construction of the American soldiers then is seen to give impact to the good image of the nation itself, which later will reinforce the U.S. hegemony. One of the limitations of this study is that it only takes account of one U.S. movie to see how American soldiers are constructed and how U.S. hegemony (even if not intense) works. Further studies can

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extend their analysis by considering more movies about American soldiers so that the result of the Americans representation can be more valid.

References Anaya, J. (2011). Perception of American enemies: Analyzing film representation for 1940s Japan & 1980s Vietnam (History B.A. Theses). Retrieve from http://digital.library.wisc.edu/1793/54258 Arti, S. (2007). The evolution of Hollywoods representation of Arabs before 9/11: The relationship between political events and the notion of Otherness. Networking Knowledge: Journal of the MeCCSA Postgraduate Network, 1(2), 1-20. Bordwell, D., & Thompson, K. (2008). Film art: An introduction (8th ed.). New York: McGrawHill. Clarke, R.L.W. (n.d.). Notes Thirteen: LITS3304 [pdf files]. Retrieved October 27, 2011, from <http://www.rlwclarke.net/courses/LITS3304/2010-2011/13Said,Orientalism.pdf> Daniel, S. (1996). Orientalism. Retrieved October 27, 2011, from <http://www.english.emory.edu/Bahri/Orientalism.html>. Hawkes, D. (1996). Ideology: The new critical idiom. London: Routledge Laitin, D.D. (1986). Hegemony and culture: Politics and religious change among the Yoruba. London: University of Chicago Press Media representation. (n.d.). Retrieved October 27, 2011, from <http://www.aber.ac.uk/media/Modules/FM34120/represent.html> Moore, J. (Director), & Thomas, J. (2001). Behind Enemy Lines [Motion picture]. United States: 20th Fox Century. Moosavinia, S.R., Niazi, N., Ghaforian, A. (2011). Edward Saids Orientalism and the study of the self and the other in Orwells Burmese Days. Studies in Literature and Language, 2(1), 103-113. Norlin, C. (Ed.). (1976). Coping with the mass media. Evanston: McDougal, Littell & Company. Schneeweis, A.A.G. (2005). Textual and visual representations of U.S. hegemony in a U.S. film broadcast on Romanian public television. Journal of Visual Literacy, 25(1), 77-96. Templeton, N. (2007). Orientalism: A critique. Retrieved October 27, 2011, from http://www.qub.ac.uk/schools/SchoolofEnglish/imperial/transnational/Orientalismcritique.html Van Pelt, T. (2000). Otherness. Retrieved October 27, 2011, from http://pmc.iath.virginia.edu/text-only/issue.100/10.2vanpelt.txt Xiaodong, L. (2010). Collaborative Orientalism: From Hollywoods Yellow Perils to Zhang Yimous Red Trilogy (Degree of Master of Art in Literature, Graduate College Bowling Green Sate University, 2010). Retrieved from http://etd.ohiolink.edu/send-pdf.cgi/Liu%20Xiaodong.pdf?bgsu1269018727