Non-American Mythologise

The worldwide consumer base of American media would be forgiven for internalising the the sensationalised images of America and the American Dream. However, like any dream, the perception that it is ‘real’ is always going to be stronger to the American who is experiences it as if it were ‘real’, than it is to the outside observer to which it is explained. Americans have been described as being ‘trained to accept simplistic myths as truth’ (Smith, 2013), and thus, many non-American consumers of American media are acutely aware of the American propensity to mythologise. This is especially true if the outside observer’s native country has been typecast as home to Russian Soviets, Somalian pirates, Australian bushmen, Middle Eastern terrorists
It does not hold as much weight, however, to the Iraqi viewer of ‘American Sniper’, which void of any local perspective or context, leaves the Iraqi militia to be repeatedly categorised as ‘savages’ throughout the film. Of course, it could be argued that this example is an outlier in that serves the political outlook of director Clint Eastwood, but even light-hearted comedies are not exempt from similar traps. 2014’s ‘The Interview’ ends with the news that thanks to the fictional US assassination of Kim Jong-Un, there will be democratic elections ahead, with images of North Koreans celebrating beamed throughout the world. Democracy, however, is not what has been spread in recent memory of US intervention, whether in the case of Muammar Guddafi’s death as the hands of US-backed rebels, or Saddam Hussein’s execution in the US invasion of Iraq. From these examples questions arise as to how America can accurately portray itself in a film set at home, if there is a lack of knowledge about the complexities of it’s role in the
However, once again, his rise to fame is heavily mythologised, with the realities of his achievements based on values not openly promoted by the media. Schwarzenegger once stated in a speech that: ‘One thing I learned about America is that if you work hard and if you play by the rules, this country is truly open to you. You can achieve anything’ (Pelossi, 2011). However, Arnold’s early success was reliant on not playing by the rules, with heavy anabolic steroid usage a catalyst in his becoming Mr. Olympia, which in turn paved the way for his career in film and politics. Although anabolic steroid usage was legal during this period, it certainly it not an example of ‘playing by the rules’ in the heavily moralistic sense - a moralism which drove the introduction of his Republican party’s ‘War on Drugs’, and drives American exceptionalism in Hollywood films today. The barriers to get ahead in America are made even more apparent through American politics. As much as ‘Forest Gump’ should teach us that we can be whatever we want, the political arena is dominated by wealth (whether corporate or personal) and family dynasties. As there seems to be set players, so too have scripts developed, with much of American politics reliant on name calling in the same vein as other entertainment mediums such as