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Delia Konzett is an Associate Professor of English and Cinema Studies at the University of New Hampshire. She is the author of numerous works on cinema and modernism, including Ethnic Modernisms: Anzia Yezierska, Zora Neale Hurston, Jean Rhys, and the Aesthetics of Dislocation (Palgrave MacMillan, 2002) and White Women in Racialized Spaces (SUNY Press, 2002), as well as various articles in American Literature, Journal of Caribbean Literature, Quarterly Review of Film and Video, and Journal of Film and Video. She also contributed to A Companion to the Modern American Novel 1900–1950 (Blackwell, 2009).
Notes
1. Henry R. Luce, “The American Century,” reprinted in Diplomatic History, 23. 2 (Spring 1999) 159–71; here 167, 168, 169; hereafter referred to in essay as AC.
2. Kinley Brauer, “Manifest Destiny Revisited,” Diplomatic History, 23.2 (Spring 1999) 379–384; here 379.
3. Michael H. Hunt, “East Asia in Henry Luce's ‘American Century,’”Diplomatic History, 23.2 (Spring 1999) 321–353; here 323.
4. See David Spurr, The Rhetoric of Empire: Colonial Discourse in Journalism, Travel Writing, and Imperial Administration (Durham: Duke UP, 1993) 118–120. Spurr discusses how Manifest Destiny ala Henry Luce is still used in America's perspective of the Third World as depicted in the 1981 Time magazine article “American Renewal,” reviewing Ronald Regan's first presidential term.
5. See Edward Said, Orientalism (New York: Vintage Books, 1979) and Edward Said, Culture and Imperialism (New York: Knopf, 1993).
6. See A. L Macfie, Orientalism (London: Longman, 2002) for a discussion of the various positions on Orientalism as well as refinements and critiques of Said's arguments.
7. Deborah Gewertz and Frederick Errington, “We Think Therefore We Are?’ in Cultures of U.S. Imperialism, eds. Amy Kaplan and Donald Pease (Durham: Duke UP, 1993) 635–655.
8. Gary Okihiro, “When and Where I Enter,” Asian American Studies: A Reader, eds. Jean Yu-Wen Shen Wu and Min Song (New Brunswick, NJ: Rutgers UP, 2000), 3–20.
9. See Lisa Lowe, Immigrant Acts (Durham: Duke UP, 1996).
10. McBride, 383–84.
11. Dan Ford, Pappy: The Life of John Ford (New York: Da Capo Press), 180.
12. Kit Parker Films, December 7th: The Movie (“Banned for 50 years by the U.S. Government”), released 1991.
13. December 7th, dir. John Ford, Gregg Toland (Navy/Field Photo), 1943. Hereafter quoted in text as D7. Unless otherwise stated, all citations refer to John Ford's edited version.
14. Field Photo proposal, quoted in Joseph McBride, Searching for John Ford: A Life (New York: St. Martin's Press, 2001) 354.
15. McBride, 384.
16. Franklin D. Roosevelt, “Infamy Speech,” The University of Oklahoma, College of Law: A Chronology of U.S. Historical Documents, 21 March 2005 <http://www.law.ou.edu/hist/infamy.html>
17. Here it is interesting to note that prior to the war Hawai'i had applied for and been denied statehood about 20 times.
18. Quoted in Beth Bailey and David Farber, The First Strange Place: Race and Sex in WWII Hawai'i (Baltimore: Johns Hopkins UP, 1992), 140.
19. Bailey and Farber, 29, 17–18.
20. Geoffrey M. White and Jane Yi, “December 7th: Race and Nation in Wartime Documentary” in Classic Hollywood, Classic Whiteness, Ed. Daniel Bernardi (Minneapolis: University of Minnesota Press, 2001) 301–338; here 304.
21. White and Yi, 304–05.
22. Bailey and Farber, 21–22.
23. Bailey and Farber, 22–23.
24. Daniel Bernardi, Classic Hollywood, Classic Whiteness (Minneapolis: University of Minnesota Press, 2001), xiv-xv.
25. Doris “Dorie” Miller was the first African American to be awarded the Navy Cross. A Mess Attendant, 3rd Class, assigned to the USS West Virginia, Miller was awarded the Cross for aiding the ship's captain and then manning, without previous training, an anti-aircraft machine gun on the morning of Dec. 7, 1941. Miller later died during the war and was awarded posthumously the Purple Heart Medal; the American Defense Service Medal, Fleet Clasp; the Asiatic-Pacific Campaign Medal; and the World War II Victory Medal.
26. T. Fujitani, “Go for Broke, the Movie: Japanese American Soldiers in U.S. National, Military, and Racial Discourses,” in Perilous Memories: The Asia-Pacific War(s), eds., T. Fujitani, Geoffrey White, and Lisa Yoneyama (Durham: Duke UP, 2001) 239–266; here 242.
27. See Siegfried Kracauer, “The Mass Ornament,” in The Mass Ornament: Weimar Essays, Trans. Thomas Levin (Cambridge: Harvard UP, 1995), 75–86.
28. Moreover, the planes depicted here are American Dauntless bombers practicing military maneuvers interspersed with actual footage of Japanese Mitsubishi Zeroes in flight.
29. See Homi Bhabha, “DissemiNation: Time, Narrative and the Margins of the Modern Nation,” in The Location of Culture (London: Routledge) 139–70.
30. Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1983) 1–7.
31. Anderson, 1–7.
32. Kracauer, 77.
33. Anderson, 9.
34. See Kathy E. Ferguson and Phyllis Turnbull, Oh, Say, Can You See? The Semiotics of the Military in Hawai'i (Minneapolis: Minnesota UP, 1999). Ferguson and Turnbull compellingly discuss the overwhelming presence of the military in Hawai'i, showing how it has normalized its presence (becoming virtually invisible) and obscured other legitimate forms of discourse, especially “those practiced by the indigenous people of Hawai'i, the descendents of contract laborers and other immigrant groups, feminists, [and] environmentalists” (xiii-xiv).
35. McBride, 358.
36. McBride, 335.
37. The Battle of Midway, dir. John Ford (Navy/Field Photo, 1942). Hereafter referred to in text as BM.
38. In order to prevent rivalry between the various military services, Ford strategically gave the Navy, the Marines, and Air Force equal representation in the film.
39. Clayton Koppes and Gregory Black, “What to Show the World: The Office of War Information and Hollywood, 1942–1945,” Journal of American History, 64 (1977), 87–105.