Catch 22 by Joseph Heller and Apocalypse Now by Francis Ford Coppola are often considered two of the finest examples of contemporary anti-war literature and cinema, despite neither being explicitly against the concept of war as such, but rather, both opposing the bureaucratic absurdity of war. Catch 22 follows the absurd struggle of a Bomber Captain John Yossarian as he attempts to escape the tyrannical irrationality of bureaucracy in the US air force during World War II. Conversely Apocalypse Now follows the conjoint literal and metaphorical journey of Captain Benjamin Willard (Martin Sheen) as he attempts to assassinate a rogue colonel (Marlon Brando) during the Vietnam War. Each work individually illustrates the psychological trauma war
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This soldier is nameless and faceless; demonstrating how bureaucracy views its men not as unique individuals, but as anonymous dispensable liabilities. It is unknown by all whether or not the soldier in white is alive or dead. This indicates that the insensitive bureaucratic autocracy is lackadaisical and pococurante towards the lives of its soldiers and thus dispenses human lives indiscriminately. Dunbar suggests that the bandages are just a cover-up and that there is nobody inside suggesting bureaucracy has taken from the men their very humanity. Similarly, in Apocalypse Now the playing cards Kilgore uses to mark the dead Vietnamese civilians illustrates the dehumanisation the American army exerts over not only its enemies but moreover towards its civilians and furthermore its own soldiers. The personification of Kilgore further symbolises the superficiality of apparent American altruism towards the indigenous populace as he promptly abandons assisting a wounded civilian, without the slightest hesitation, when he receives information the adjacent beach’s surfing conditions are good. Willard’s mission is furthermore presented by Coppola as an example of bureaucratic hypocrisy, in the midst of scores of senseless killings, the U.S. military is exhausting energy and lives on assassinating one of its highest-ranking military officials. While Kurtz may well have gone …show more content…
By cloaking scenes in fog and mist, Coppola emphasises the fear of the unknown, the perils of venturing too far into the subconscious, and the supremacy of the wilderness. The boat crew is an easy target for anyone or anything hiding in the depths of the jungle, and fog makes this vulnerability and dislocation even more evident. Conversely Heller illustrates the characterisation of Yossarian as a symbol for transformation war inflicts on its participants, Yossarian was once a courageous, patriotic combatant, but is now selfish and fearful, concerned only for his own wellbeing above that of the supposed greater good, Heller implies that war exposes the nonsensicalness of patriotism especially in the face of one’s own mortality. Similarly, as they move upriver, Willard and the boat crew become more agitated and separated from reality. Coppola’s use of the omnipresent darkness in the film emphasises the absence of civilisation and civility and the unfamiliar uncertainty foreignness provides. Additionally, Heller utilises a stilted, somewhat arbitrary structure to demonstrate the unnecessary randomness of war. Heller furthermore demonstrates the
This soldier is nameless and faceless; demonstrating how bureaucracy views its men not as unique individuals, but as anonymous dispensable liabilities. It is unknown by all whether or not the soldier in white is alive or dead. This indicates that the insensitive bureaucratic autocracy is lackadaisical and pococurante towards the lives of its soldiers and thus dispenses human lives indiscriminately. Dunbar suggests that the bandages are just a cover-up and that there is nobody inside suggesting bureaucracy has taken from the men their very humanity. Similarly, in Apocalypse Now the playing cards Kilgore uses to mark the dead Vietnamese civilians illustrates the dehumanisation the American army exerts over not only its enemies but moreover towards its civilians and furthermore its own soldiers. The personification of Kilgore further symbolises the superficiality of apparent American altruism towards the indigenous populace as he promptly abandons assisting a wounded civilian, without the slightest hesitation, when he receives information the adjacent beach’s surfing conditions are good. Willard’s mission is furthermore presented by Coppola as an example of bureaucratic hypocrisy, in the midst of scores of senseless killings, the U.S. military is exhausting energy and lives on assassinating one of its highest-ranking military officials. While Kurtz may well have gone …show more content…
By cloaking scenes in fog and mist, Coppola emphasises the fear of the unknown, the perils of venturing too far into the subconscious, and the supremacy of the wilderness. The boat crew is an easy target for anyone or anything hiding in the depths of the jungle, and fog makes this vulnerability and dislocation even more evident. Conversely Heller illustrates the characterisation of Yossarian as a symbol for transformation war inflicts on its participants, Yossarian was once a courageous, patriotic combatant, but is now selfish and fearful, concerned only for his own wellbeing above that of the supposed greater good, Heller implies that war exposes the nonsensicalness of patriotism especially in the face of one’s own mortality. Similarly, as they move upriver, Willard and the boat crew become more agitated and separated from reality. Coppola’s use of the omnipresent darkness in the film emphasises the absence of civilisation and civility and the unfamiliar uncertainty foreignness provides. Additionally, Heller utilises a stilted, somewhat arbitrary structure to demonstrate the unnecessary randomness of war. Heller furthermore demonstrates the