Action movies before and after 9/11 Action movies are from the early years of cinematography one of the most popular genres. Actors like Arnold Schwarzenegger, Steven Segal, Sylvester Stallone are well known persons in nearly every country in the world . Our is research paper is mailny focusing on a topics that were in action movies before and after 9/11 . The major questions are, in where was the movies recorder ( geographic location), who is an “evil” in and what are his origins plus from which country does s/he come from . Action movies were mainly based on fitcion and had only very few poits that were based on a reality .
The 9/11 attacks smashed Hollywood’s monopoly on myth-making , because the images become a reality . The 9/11 has changed a major of political, social but and cultural life . During a Cold war these actors, were fighting ?? enemies” frorm Russia, or sometimes from China so in general against counties with different regimes as US, and western world does . Later one though out a 20th century these action heroes were fighting a guys from South America, so in general against a drug cartels and narcotic-barons, against enemy was identified . Also there was a similar aspect in these movies ; policy.
Countries of South America also had different regimes, not exactly communism, but more authoritarian regimes . Later on with the rise of the rest and with trend of globalization new enemies were found, Terrorist , so later on action movies started to fight against radicals and terrorist. The superhero between 9/11 especially in a golden era of action movies in ? 90 was the superhero usaul an individual person who is trying to fight for a right thing . If is a hero a meber or ex-member of U. S army, than he follows and orders, sometimes with not very orthodox ways, but he still obeys the rules .
Relevant example is a trilogy about an american soldier, who used to fight in Vietnam war –Johnny Rambo ( Sylvester Stallone ) . Johny Rambo is a superhero, but is abondened, everything that he knows was an army, which was place where he belong. After he left an army he feel allianated and nobody understand him except of his commander . John Rambo is a perfect soldier who is able to survive in extreme conditions . But he is disgust with a society , and from a fact that his onw governemnt is taking care about him only in a case when they need him. More intportant than Rambo? s psychology and allienation is who is he fighting against .
In Rambo II and Rambo III is he fighting against Russians . The Soviet Union was druing the Cold War only one relevant enemy with opposing ideology . In a majority of action movies was an enemy of the U. S. , or threat of a world peace and stability somebody from the Societ Union . After the Soviet Union devided into plenty of nation states , an enemy stopped to be that concret and a new sort of enemies had been occuring – terrorists and extremists. A favourite topics and scenes were for Hollywood a catastrophic scenatio in which superhero have to safe the US and the world .
But in general still a concrete countries were a source of a tension not individuals . We have to agree that that this was oversimplification of interantional affairs , and a Hollywood movie makers have seen a world though a black an white optics . After a 9/11 American producents and film companies are trying to be politically corect, and a tendencie to not depict countries as a threat but only individuals , who are trying to destroy something. Before 9/11 it was pretty common that subtitles have shown to viewers where is an enemy coming from, now in a year 2011 it is a little bit different.
For example producers prioritize to write instead of a concret countries , rather only a geographical location for example Middle east . Enemies are not necessary foreigners- after 9/11 we can observe a great shift . So the enemy is not certain and a location is not concrete . Exact time and place are not crucial, and are reflecting different meanings as they used to do in past . In the days and weeks after 9/11, Hollywood momentarily abandoned the hyperviolent spectacles that dominated mainstream late 1990s cinema. Films were temporarily shelved, sequences featuring the World Trade Center were recut, and ‘family’ ? ms were rushed into release or production . Predictably, however, this reversal of fortune did not last long, and soon Hollywood was back to work on a series of highly successful ‘crash and burn’ movies  The viability of notions that are normally at the heart of the action film: heroism and a ‘just war” are currently not pillars of action movies. Heroism as a cultural idea gained renewed currency in the immediate aftermath of 9/11, stories abounding about people who had risked their lives or died trying to rescue others 1 .
Action movies have a tendency no to deal with a questions of moral acting, and what is morality, and how to apply it in a real situations. The producer are also trying to point out a notion of possible corruption of governments and they are doubtful about a role of it. Usually ?? heroes?? of action movies after 9/11 are not fighting against some foreign forces but against a government of their own states, or against companies which are influencing and putting a pressure to a national and international organizations and governments.
Also a patriotism is not as strong aspect as it used to be before 9/11. In movies that I am planning to focus on is movie Lord of War with Nicolas Cage , trilogy of Bourne. Fantasy and SCI-FI movies, had begun to play more significant role after 9/11pop-culture. Movies like spider-man or X-MAN, are one of the most important in last decade, I would like to focus on them also, especially on their structure, scenario and characters and to point out or better said find differences between movies before a 9/11 and after .
For sure it is also possible to find political aspects, but a question is how interpret them. Major problem that the movie industry was dealing with — particularly the big studios that produce the mega-blockbusters — is that the reality of events on Sept. 11 so overshadowed and engaged and shocked U. S. nation and the world, that any attempt to come close to, or duplicate, or re-enact a similar scenario is going to look pretty foolish and pathetic . The Bourne Identity (USA, 2002, ) | ——————————— [ 1 ]. Wheeler Winsston Dixon – Film and Television after 9/11, p. 3