Clint Eastwood's Cinema of Trauma

Charles R. Hamilton is a professor of English at Northeast Texas Community College in Mount Pleasant, teaching film, literature, and composition, and an adjunct professor at Texas A&M University Central Texas in Killeen. He is the chair of the Adaptation: Literature, Film, and Culture area for the Southwest Popular/American Culture Association. Allen H. Redmon is a professor of English and film studies at Texas A&M University–Central Texas. His research on Carl Theodor Dreyer, Clint Eastwood, and Quentin Tarantino looks at the ways they undermine the violence their films tolerate (if not celebrate).

Table of Contents


Acknowledgments

Preface

Coady Lapierre

Introduction(Charles R. Hamilton and Allen H. Redmon)

Civilian PTSD in The Outlaw Josey Wales (Sydney Sian Walmsley)

Welcome to the Ranks of the Disenchanted: Feminism and Pacifist Spectacle in The Gauntlet (Andrew Grossman)

Eastwood’s Depiction of Violence and PTSD in Private Citizens (Alison S. Wallace)

“What face do you put with your enemy?” Identifying Trauma in In the Line of Fire and Absolute Power (Mária I. Cipriani)

Mourning and Melancholia in Blood Work and Vanessa in the Garden (Fernando Gabriel Pagnoni Berns and Canela Ailén

Rodriguez Fontao)

The Trauma of Cyclical Violence in Mystic River (Charles R. Hamilton)

Moral Injury and Civilian Authority in the War Films of Clint Eastwood (Kathleen A. Brown and Brett Westbrook)

Belated Casualties: Delayed Stress Disorder in Gran Torino (James F. Scott)

National PTSD in Invictus (Laurence Raw)

“He’s here and he’s there”: Projecting Recovery in American Sniper and Sully (Allen H. Redmon)

Conclusion: Eastwood’s Perfect World (Charles R. Hamilton and Allen H. Redmon)

About the Contributors

Index