The author claims that it is hard to find a U.S. made movie that “presents the hero (usually the U.S.) as anything other than supremely morally worthy.” The author implies that she:

Questions below are based on the following passage: It could be argued that all American war movies take as their governing paradigm that of the Western, and that we, as viewers, don’t think critically enough about this fact. The virtuous hero in the white hat, the evil villain in the black hat, the community threatened by violence; these are the obvious elements of the paradigm. In addition, the hero is highly skilled at warfare, though reluctant to use it, the community is made up of morally upstanding citizens, and there is no place for violence in the community: the hero himself must... Show more

Questions below are based on the following passage:

It could be argued that all American war movies take as their governing paradigm that of the Western, and that we, as viewers, don’t think critically enough about this fact. The virtuous hero in the white hat, the evil villain in the black hat, the community threatened by violence; these are the obvious elements of the paradigm. In addition, the hero is highly skilled at warfare, though reluctant to use it, the community is made up of morally upstanding citizens, and there is no place for violence in the community: the hero himself must leave the community he has saved once the battle is complete. This way of seeing the world has soaked into our storytelling of battle and conflict. It’s hard to find a U.S.-made war movie that, for example, presents the enemy as complex and potentially fighting a legitimate cause, or that presents the hero (usually the U.S.) as anything other than supremely morally worthy. It is important to step back and think about the assumptions and frameworks that shape the stories we’re exposed to; if we’re careless and unquestioning, we absorb biases and worldviews with which we may not agree.

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