Abstract

Cimino's The Deer Hunter is a mass culture product that sells. It is a conventional, manipulative Hollywood movie that moves large U.S. audiences. In trying to identify the ideological function of this film, Leibowitz has compared The Deer Hunter to Nazi ideology or German Romantic nationalist aesthetics. This comparison, however, says little about the film itself. To invoke this German tradition is to do little more than to invoke the roots of the modern culture industry in general. The Nazis are only unique in that they succeeded early in blending propaganda, violence, pornography, religion and a consumer mentality in a mechanism of cultural manipulation.