The Empire Cannot Die: Propaganda and Immortality in Top Gun: Maverick
Top Gun: Maverick is a film about the American Empire: its ethos and hopes, its illusions and contradictions. This essay considers the propaganda content of the movie, and reflects on what it reveals and conceals about the wider political and social context of America's imperial project. The fi...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Cambridge University Press
2022
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| In: |
New blackfriars
Year: 2022, Volume: 103, Issue: 1108, Pages: 713-729 |
| Standardized Subjects / Keyword chains: | B
Top Gun: Maverick
/ USA
/ Imperialism
/ Propaganda
/ Immortality
/ Criticism
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| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | Top Gun: Maverick is a film about the American Empire: its ethos and hopes, its illusions and contradictions. This essay considers the propaganda content of the movie, and reflects on what it reveals and conceals about the wider political and social context of America's imperial project. The film provides insights on the shifting expectations, and troubles facing the American Empire in 2022. In reflecting upon the sequel and comparing it with the original, it is possible to notice changes and new prerogatives in the self-perception of the United States, as well as an overall imperial fatigue and tension. In particular, this essay evaluates the use of missionary language and metaphors in the film, and considers that empires have a chronic incapacity, or maybe impossibility, in abdicating their power. Top Gun: Maverick shows that an empire, any empire, would simply cease to be such if it would not believe in its own myth of perennial youth. Ultimately, this essay considers the burden of the American Empire: its damnation is its immortality, its illusion of eternity. |
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| ISSN: | 1741-2005 |
| Contains: | Enthalten in: New blackfriars
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| Persistent identifiers: | DOI: 10.1111/nbfr.12776 |