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- All Subjects: War
- Creators: Rothenberg, Daniel
Scholars argue that masculinity and war are united because masculinity is best observed through male-dominated arenas, such as the military. Moreover, film can serve as a medium to not only establish what is socially acceptable, but play an active role in the creation of one’s identity. Filmmakers past and present have employed the motif of masculinity in their war films, which put it at the center of the social structure and creates an overall acceptable cultural ideology. These filmmakers have established the overall rules, themes, and methods used as part of the war film genre. These rules, themes, and methods served well for pre-1970 American war cinema, when women were not allowed in the military as soldiers. However, as of 2003, female soldiers have grown to comprise twenty percent of the active soldiers and officers in the military. Studies on masculinity construction are well documented in World War II, Vietnam, and Gulf War-era combat films; however, little has been studied on post-9/11 American war films involving the Iraq and Afghanistan wars. Using literature on masculinity constructs, both inside and outside of film, as well as social construction theory, identity theory, genre theory, and auteur theory, this dissertation textually examines masculinity construction in six post-9/11 American war films. This dissertation finds that the contemporary war genre continues to construct masculinity similar to past eras of war film. Comradery, the warrior image, not showing emotion, having a violent demeanor, and the demonization of women and cowardice were all prevalent in one or more of the films analyzed in this study. However, there were many nontraditional masculine ideals that were implemented, such as women being present and taking an active role as soldiers, as well as women being portrayed in the warrior image. The films analyzed demonstrate that the war film genre is still depicting and therefore socially constructing masculinity in a way that was prevalent in pre-1970 war films. However, the genre is evolving and nontraditional masculinity constructs are starting to present themselves.
Provincial Reconstruction Teams (PRTs), civil-military joint teams created by the U.S. government, are intended to assist in development and reconstruction projects throughout Afghanistan. The mission of PRTs involve locally grounded engagement linking security and community assistance as a central means of supporting the larger counterinsurgency model. Humanitarian activities as undertaken by PRTs attempt provide stability to civilians that they might otherwise turn toward an insurgent group to find. Ideally, PRTs should understand the factors that cause individual and group insurgency against a state and utilize that knowledge when attempting to address the conflict that results. This study focuses on the successes and shortcomings of the Jalalabad PRT and their implementation of a new project development model in the Nangarhar province in Afghanistan in 2006. It was successful because it directly worked to remediate the underlying causes of insurgency as proposed by the technocratic conceit, with a focus on improved water sanitation and sewage, agriculture, and basic infrastructure. It was unsuccessful because it failed to promote local ownership, the development of a community identity, or a methodology to measure the effectiveness and impact of its projects.
According to the lessons from the conflict literature, the Jalalabad PRT’s actions only partly reduced the factors that lead to individual and group defection into an insurgent group.
In actively working to incorporate the lessons from the conflict literature into the Jalalabad PRT project development model, PRTs will more aptly and successfully achieve their stated goals of providing stability, reconstruction, and security. Without addressing the potential other underlying causes of insurgency, however, U.S. PRTs are unable to produce measurable, empirical reductions to insurgency in Afghanistan.