Shea Abrahams

How are Protagonists represented in war films?

My thesis focuses on the representation of the protagonists in war films from 1998 to present
day. I will be exploring how the protagonist is represented to the audience, while also
focusing on the historical, political and social issues that could affect the type of war films
produced between the set time periods.

The representation of protagonists in war films has significantly changed from 1998 to
present day. In many ways the stereotypical view that protagonists in war films were
portrayed as heroic, brave and selfless has somewhat changed due to political and historical
circumstances such as the 2001 9/11 attacks and the 2003 Iraq invasion where the
protagonists have been represented as countertypes to soldiers in war. The 2001 9/11 attacks
were significant in the way antagonists were presented gravitating away from WW2 and the
Vietnam War where Nazis and North Vietnamese soldiers were the main antagonists to
people from the Middle East and Afghanistan, usually associated with terrorist groups such as
Al-Qaeda, ISIS and Al-Shabaab. Likewise, the 2003 Iraq invasion presented protagonists as
countertypes to soldiers of war. This has paved the way for more recent film studios to take
advantage by creating a new theatre of war that clearly shows the countertypes of soldiers in
war by using the medias findings and reports on the controversy such as killing innocent
people in an attempt to achieve their mission. This countertype will drastically change the
way society views soldiers as seen by Islamic groups who oppose Western intervention in the
region.

Saving Private Ryan (1998) was directed by Steven Spielberg. The film stars Captain Miller
(Tom Hanks) who leads the assault on D-Day in WWII where he aims to save a fellow
American soldier, Private Ryan (Matt Damon) from Nazi-occupied France. In this scene,
Captain Miller leads the Omaha Beach invasion to capture it from the Nazis and to set up a
brief command centre for the liberation of
Europe. This film conforms to the typical
conventions of war films as the protagonists
are given a stereotypical representation of a
WWII American soldier, as being brave. The
cinematography in the Omaha Beach scene
supports this representation because the use of a
long-shot suggests the soldiers inferiority to
what they are fighting against. In the scene
we can see a large infrastructure built by the
Nazis made up of barbed wire, machine guns
and a concrete bunker that connote danger
because it is used to kill people and is largely
superior to the Americans on the beach.
Furthermore, a slow motion effect is used to
present a brave representation because the effect used is to create suspense as Captain Miller
watches soldiers burn and lose limbs. A handheld movement also helps establish the brave
representation because the camera is shaking and moving making the audience feel like they
Shea Abrahams

are in the situation with them. Alongside this, Steven Spielberg uses diegetic-dialogue that
connotes the protagonists bravery as the landing craft driver says Clear the ramp, 30
seconds, God be with you . The word God in the context of this sentence foreshadows death
because God is seen as the determiner of life
and death. The use of make-up and costumes
alludes to the protagonists brave
representation by the use of combat clothing
and helmets that connote a warzone and the
blood and gore from injured soldiers suggest
their bravery and fear because it shows they
are in a life-threatening situation as the blood outside of the body suggests death. This scene
can be put into a historical context by the large infrastructures on the beach representing the
Atlantic wall built by the Nazis stretching from the Netherlands to the Franco-Spanish border
to stop a potential liberation of Europe by the allies. D-Day took place on 6th June 1944 and
was split up into 5 beach invasions, Gold, Sword, Juno, Utah and Omaha. This scene follows
the beach invasion of Omaha by the American forces.

However, Saving Private Ryan does not conform to the typical conventions of American
WWII soldiers. In one scene, two American soldiers intentionally shoot and kill two
surrendered Nazi soldiers who are in fact Czechoslovakian, conscripted into the Nazi forces.
This countertype is supported by an over the shoulder shot and handheld movement. The use
of an over the shoulder shot highlights the counter typical representation because it shows the
fear in the faces of the Nazi soldiers with the US
soldiers facing away from the camera giving a
higher emotional status to the Nazis rather than the
Americans despite having witnessed comrades
being killed on the beach. The handheld movement
also suggests this countertype because it makes the
audience feel as if they were there but could do
nothing about it. In addition to this, through diegetic
dialogue, the American soldiers are given a counter
typical representation because the soldier says
Look, I washed for supper and then proceeds to
laugh after killing the two Nazi soldiers, this
connotes that the soldiers show a joyful emotion after committing a crime and doing
something that is seen as morally wrong. Finally, the body language of the actors suggest a
counter typical representation because the Nazi soldiers clearly have their hands up to show
surrender that connotes inferiority towards them which is in contrast to the American soldiers,
through the use of a prop (rifle), are pointing rifles at them to connote their authority and
superiority and the rifle further supports their superiority and danger by using the rifle to kill
the Nazis. This scene can be placed into a historical context because during WWII, men from
occupied German countries were forced to fight for the Nazis or be executed or sent to
concentration camps.
Shea Abrahams

Tzvetan Todorovs theory of Equilibrium best fits the narrative of Saving Private Ryan.
Todorov stated there were 5 stages of equilibrium; a state of equilibrium, disruption,
recognition of disruption, attempt to repair disruption and new equilibrium. A state of
equilibrium is seen when Captain Miller has captured Omaha Beach in the opening scene.
The disruption that follows is that 3 out of the 4 Ryan brothers have been killed on D-Day,
which is then followed by the attempt to repair by Captain Miller and his team setting out to
find the fourth and only surviving brother, Private Ryan, The new equilibrium is restored
when Private Ryan is safe behind the front lines and from any immediate danger.

American Sniper (2015) was directed by Clint Eastwood. Based on a true story, the film
follows Chris Kyle (Bradley Cooper), a US Navy SEAL in Iraq during the Iraq war where he
served 4 tours, while struggling to be a good father and husband. Chris Kyle became the most
highly decorated sniper in American history with 160 confirmed kills. In this scene, Chris
Kyle is faced with a difficult situation because he has to make a judgement on whether to kill
a young boy and his mother to save his
fellow soldiers. This leads Chris Kyle to be
given a counter typical representation of an
American soldier, through the use of a Point
Of View shot. This shot captures Chris Kyle
aiming his sniper towards a young boy who
is running at the American convoy with a tank shell.

This shot is used to include the audience as it makes the audience feel like they are in control
of the sniper rather than Chris. Alongside this, Clint Eastwood uses mise-en-scene elements
to suggest a counter typical representation through the use of costumes. Chris Kyle is wearing
the American Navy SEAL uniform that foreshadows killing, freedom and violence because
people who wear the uniform have earned it through violence and often kill people, whereas,
the mother and childs costumes suggest oppression and poverty because they are wearing
ragged clothes and the woman is seen wearing a scarf to cover her hair from the orders of her
husband which implies oppression. Therefore, this creates juxtaposition because the two
costumes are in contrast of each other; one representing oppression and the other representing
freedom and violence. The wearing of the uniform could signify the liberation of a country
from oppression. This scene can be placed into social context because many Americans
disapproved of the war due to the controversy surrounding it, such as killing innocent
civilians including women and children.

American Sniper follows Roland Barthes Enigma codes, in particular, the Proairetic code that
is used to create tension and lead the audience into guessing what happens next. This is done
throughout the film, in particular during the mum and son scene where there is tension
through the use of a Point of view shot when Chris Kyle is aiming his sniper at them which
leads the audience to suggest he is going to kill them. A sniper rifle is portrayed as a weapon
that kills, and in the narrative of the film with the U.S convoy shortly in front of them, Chris
Kyle had no choice but to take the shot.
Shea Abrahams

Eye in the Sky (2016) was directed by Gavin

Hood and follows a team of British Army
officers, Colonel Katherine Powell (Helen
Mirren) and Lieutenant General Frank Benson
(Alan Rickman), as well as other cast including
Steve Watts (Aaron Paul) and Carrie Gershon
(Phoebe Fox) who have to make the ultimate
judgement on whether to carry out an airstrike
on a crowded town of terrorists and civilians in
Nairobi, Kenya. In this scene, we see Colonel
Katherine Powell and General Frank Benson
arguing to initiate the airstrike and Steve Watts
and Carrie Gershon opting to hold off the airstrike to avoid killing a young girl nearby. The
use of a series of close up shots presents this counter typical representation because, it shows
the emotionless face of Colonel Katherine Powell when she is speaking down to Steve Watts
in order to proceed with the airstrike, whatever the cost may be. Alongside this, through
diegetic dialogue, it clearly establishes the counter typical representation because Colonel
Katherine Powell says Lieutenant, you have clearance, there is a lot more at stake here than
what you see in this image. This dialogue connotes Katherine Powells carelessness for her
actions which thus suggests a counter typical representation because her carelessness would
lead her to put a young innocent girl at risk for her own personal gain, which goes against any
protocols set by the British Army. Furthermore, through the use of editing, Katherine
Powells counter typical representation is clearly established because it is cross-cutting
between Katherine Powell and Steve Watts arguing on the phone which shows her to be
superior through the tone of her voice compelling Steve Watts to act on her decision. Finally,
the use of costumes help us to differentiate between the people who want to use excessive
force as they are wearing British MTPs (British Military Uniform), a uniform that
foreshadows war and death because soldiers who wear the uniform would often kill people
during war. This can be integrated into political context because there was and still is a lot of
controversy over the British governments decision to continue operations in the Middle East
and Africa. In addition, the year this film was made (2015), the British government voted
overwhelmingly to start conducting airstrikes in Syria against ISIS which sparked more
controversy within government. It was deemed among the labour party and other left-wing
followers that the British government was wrong because it was seen as something the British
should not get involved in because of other so called failures such as the Iraq invasion, a
reason why the government lost the vote for airstrikes in Syria in 2013.

Similarly, in this scene, we see Colonel Katherine Powell influencing a change in the rules of
engagement to legally keep her safe from any backlash or illegal action taken. This is
supported through diegetic-dialogue when Katherine Powell says Now you will file your
report at a 45% CDE (Collateral Damage Estimate) understood this line connotes Katherine
Powells counter typical representation because she is forcing her operators to lie for her to
cover up any illegal actions taken and this goes against all military code and legal system
because she is acting for her own self-gain. This counter typical representation is supported
Shea Abrahams

by the use of non-diegetic dialogue because when she says this, the room goes quiet and there
is music in the background at a slow pace to create suspense and tension in the room as they
all see her as a criminal for her actions. Alongside this, Gavin Hood uses a series of close up
shots to show the soldiers emotions as one of shock and then Katherine Powells face as
emotionless after the airstirkes that connote her as a countertype because the stereotypical
view of soldiers is that they dont kill civilians including children for their own self-gain.

Eye in the sky uses Levi Strausss binary opposites narrative structure as rational and
irrational. In the film Eye in the sky, rational thoughts came from Steve Watts and Carrie
Gershon who used logical and reasonable thinking when trying to find solutions that would
avoid killing or severely injuring the young girl, whereas, irrational thinking came from
Colonel Katherine Powell who let her ego and self-achievement get the better or her and
removed any logical and reasonable thinking she may have had when arguing in favour of the
airstrike that had a high probability of killing the young Kenyan girl.

We Were Soldiers (2002) was directed by Randall Wallace and follows Hal Moore (Mel
Gibson), Sgt. Maj. Plumley (Sam Elliot) and Joe Galloway (Barry Pepper) in the early stages
of the Vietnam war during the battle of La Drang where they must find and kill the enemy.
The operation backfires and the U.S troops are tasked with holding the area from enemy
attacks. We Were Soldiers is seen as an outlier in the trend of war films in the 21st century and
does follow the typical conventions of an American soldier as heroic. This is supported by the
use of mise-en-scene where the protagonists are killed by gunfire and explosions that connote
danger because gunfire is used to kill people.
For example, an American fighter plane released
a napalm strike on American soldiers in a Blue
on Blue situation, which indicates their heroic
representation because it shows the danger they
faced while fighting. The make-up in this scene supports this view because they have burnt
faces and body parts that foreshadow death because burns and melted skin means that there is
a high risk of dying. The costumes used in this scene
further show the protagonists heroism as they are
wearing OG107 olive green combats that foreshadow
the nature of the American military as courageous and
heroic because they went into battle with the uniform
on and earned it through tough training. The use of
props in this scene also sonnote heroism because the
protagonists are using M16 carbine rifles, associated
with the U.S Army who are seen as heroes and the antagonists have AK-47s that connote
their evilness, following a trend in many action films where the antagonists use inferior
weapons to the protagonists. Non-diegetic music in this film is more associated with a
romantic genre and therefore does not conform to the typical conventions of a war film
however, we are meant to feel an emotional connection with the protagonists. Furthermore,
the diegetic dialogue of men screaming when they were on fire connotes heroism because it
is clear that they have risked their lives to protect their fellow soldiers.
Shea Abrahams

Todorov;s narrative theory fits the narrative of We Were Soldiers because the state of
equilibrium is when Hal Moore is at the U.S Army base, working together with his unit of
soldiers, disruption is when Hal Moore and his unit are assigned to go and fight in Vietnam,
the recognition of disruption is when Hal Moore delivers a speech to his unit, telling them
that they will be going to war, the attempt to fix the disruption is seen when Hal Moore and
the other protagonists are fighting in the Battle of La Drang and the new equilibrium is
established when the remaining soldiers are evacuated from the area and sent home.

Hacksaw Ridge (2016) was directed by Mel Gibson and follows Desmond T. Dawson
(Andrew Garfield), a devout Christian who believed WWII was just, but killing was wrong
and so embarks on a journey in Okinawa, Japan to save people rather than kill people. Based
on a true story, Desmond is legally allowed to go into battle without weapons training and
during his time, he rescued 75 American soldiers from Hacksaw Ridge and was the first
conscientous objector to win a congressional medal of honour. This film does conform to the
typical codes and conventions of a war film because it suggests a brave and heroic
representation of the protagonist. This is justified through the use of diegetic-dialogue when
Desmond says with the world so set on tearing
itself apart, it dont seem like such a bad thing
to me to wanna put a little bit of it back
together. The use of this line connotes heroism
because Desmond is keen on making the world a
better place and becoming a world hero in order
to save it. Alongside this, Mel Gibson uses a close up shot to show the serious and
determined face of Desmond which proves him to be brave and heroic because this connotes
his bravery and heroism to go into battle without a weapons handling test and therefore
unable to fire a weapon. Furthermore, the mise-en-scene elements also suggest Desmonds
brave and heroic representation because the use of props such as the guns carried by the
American and Japanese soldiers connotes death as they are used to kill people. The use of the
gun further suggests Desmonds brave and heroic representation because Desmond never
fired a gun during battle and didnt have one specifically assigned to him which led him to be
vulnerable to the American soldiers who were critical of him and the Japanese soldiers who
brutally killed anyone. The costumes used
(American WWII uniform) connotes Desmonds
heroic and brave representation as he was wearing
helmets and armour to protect himself that
connotes danger because it clearly establishes that
they are in a battle where they could be killed.

To conclude, the representation of protagonists has drastically changed in the 21st century for
war films because of events that shaped our world such as the 9/11 attacks and the 2003 Iraq
invasion which led directors to move towards new warfare settings that depict the
protagonists as a countertype to a soldier in battle. However, some directors do not follow the
trend of a counter typical representation of soldiers and instead opt for a more stereotypical
representation because of the acceptance of Vietnam War veterans in the USA during the
Shea Abrahams

1970s. They were not welcomed with joy and happiness and instead rather seen as murderers
and rapists. Furthermore, some films seem to give both a counter typical and stereotypical
representation because they want to show the struggle of a soldier with family or personal
problems such as PTSD (Post Traumatic Stress Disorder), as well as, not forgetting the
atrocities some soldiers committed during war that have been silenced by propaganda and
patriotism. Overall Directors have gravitated towards a new theatre of warfare in the Middle
East and Africa such as American Sniper (2015) and Eye in the Sky (2016) which highlight
counter-types of soldiers through microelements such as cinematography and mise-en-scene.

Word Count: 3,248

Shea Abrahams

Bibliography

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Todorov, T., Translated, R.H., Todorov, P.T. and Howard, R. (1973) The fantastic: A
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University, 1973.

Lvi-Strauss, C., Levi-Strauss, C. and Lvi-StraussClaude (1966) The savage mind (the
nature of human society series). 2nd edn. London: Littlehampton Book Services.

http://www.slideshare.net/07anghwilk/barthes-enigma-code-26664459

http://www.slideshare.net/sarahlambe/barthes-5-narrative-codes-12063567

http://mikedyera2mediastudies.blogspot.co.uk/p/todorovs-theory.html

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http://www.slideshare.net/jordan_house/vladimir-propp-14561275