The Representation of the American Presidency in Recent Hollywood Movies

Table of Contents

I. Introduction

II. History of Presidents in Films

III. Characterization of the Presidency in Recent Hollywood Movies

1. The Substance and Narrative Logic of the Films

1.1. Absolute Power (1997)

1.2. Air Force One (1997)

1.3. The American President (1995)

1.4. Clear and Present Danger (1994)

1.5. Dave (1993)

1.6. Independence Day (1996)

1.7. Mars Attacks! (1996)

2. Characterizations of Movie Presidents

2.1. The Screen President as Politician

2.1.1. Handling the Job of a Movie President

2.1.1.1. Foreign and Domestic Policy Issues

2.1.1.2. Crisis Situations

2.1.1.3. Public Appearances

2.1.1.4. Presidential Style

2.1.2. Party Affiliation

2.1.3. The Fictional Importance of Popularity

2.1.4. The Political Power Struggle

2.1.5. Portrayal of the White House Staff

2.2. The Fictional First Family

2.3. Personal Traits of Movie Presidents

2.3.1. The Corrupt Version

2.3.2. The President as a Hero

2.3.3. The Dual Character: Presidents in Public and in Private

2.3.4. Hollywood’s Everyman President

3. Hollywood’s Conception of the American Presidency

3.1. The Film Industry’s Humanization of the Presidency

3.2. Characterization of The Presidency as a Symbol of America

3.2.1. America’s Reverence of the Presidency

3.2.2. Hollywood’s Symbolic Treatment of the Oval Office

3.2.3. Illustration of the Conflict between the Man and the Office

3.3. Fictionalization of the Crisis of Political Leadership

3.3.1. The Status of Politics in Film

3.3.1.1. The Public Contempt for Politics

3.3.1.2. The (A)political Functions of Presidents in Films

3.3.2. Portrayal of the Limitations of Presidential Political Power

3.3.3. The Problem of Meeting Public Expectations

3.3.4. Moral Leadership and the Importance of Character

IV. Reasons for the Current Abundance of President Films

1. Film as Reflection of the Public Mood

1.1. Presidential Portrayals as a Mirror of the Social Climate

1.2. The Modern Presidency as a Celebrity

1.3. Clinton’s Adjacency to Hollywood

2. The Commercial Success of Presidential Movies

V. Conclusion

Research Objectives and Themes

This thesis examines the representation of the American Presidency in Hollywood films produced between 1993 and 1997. It explores how the depiction of fictional Presidents reflects societal values, public anxieties, and changing perceptions of political power, while analyzing whether these cinematic portrayals conform to established historical trends or signify a shift in the cultural landscape.

• Cinematic portrayal of political authority and power.
• The intersection of real-world politics and Hollywood’s "Dream Factory."
• Genre-specific conventions in depicting the Oval Office and the Executive branch.
• Humanization versus idealization of the Presidency.
• The impact of public mood and the celebrity status of modern Presidents on film production.

Excerpt from the Book

Summary of Chapters

I. Introduction: Outlines the research focus on the surge of "President films" in the 1990s and the methodology used to analyze how Hollywood reflects public sentiment regarding the American Presidency.

II. History of Presidents in Films: Traces the evolution of presidential representation in cinema from early, reverent portrayals to the complex, often pessimistic, and cynical depictions following the Vietnam War and the Watergate scandal.

III. Characterization of the American Presidency in Recent Hollywood Movies: Provides a deep-dive analysis of seven selected films, categorizing Presidents into corrupt versus heroic figures, and discussing the impact of genre, staff, family, and the "everyman" trope on these characterizations.

IV. Reasons for the Current Abundance of President Films: Discusses the socio-cultural and economic factors behind the 1990s boom of political films, attributing it to public mood, the celebrity status of the President, the Bill Clinton era, and the box office success of big-budget action spectacles.

V. Conclusion: Summarizes findings, noting that while Hollywood frequently satirizes the political system, it simultaneously preserves the Presidency as a sacred American symbol.

Keywords

American Presidency, Hollywood, Film Studies, Political Cinema, Political Thriller, Executive Power, Public Opinion, Presidential Portrayal, Watergate, Humanization, National Symbol, Cultural Studies, Media Representation, Leadership, Presidential Style.

Frequently Asked Questions

What is this research project about?

This thesis investigates the portrayal of the American Presidency in Hollywood movies released between 1993 and 1997, aiming to understand how filmmakers represent the executive office and its occupants.

What are the central thematic areas?

The research explores the characterization of movie Presidents, the symbolic meaning of the White House, the role of political staff and the First Family, and the influence of the political climate on the film industry.

What is the primary objective of this work?

The main goal is to identify trends in presidential characterization and to determine how Hollywood’s depictions of the executive branch mirror or influence public perceptions of political power and moral leadership.

Which scientific methods are employed?

The author uses a comparative content analysis of seven successful Hollywood films, combining film studies perspectives with political science theories on the Presidency.

What aspects are covered in the main section?

The main section analyzes plot structures, genre conventions (thrillers, comedies, action movies), the moral qualities of fictional Presidents, and the contrast between the private man and the public office-holder.

Which terms best characterize this work?

Key terms include political cinema, humanization of power, the Presidency as a national symbol, the influence of public mood on pop culture, and the "impossible" Presidency.

How does the film industry balance political corruption with the reverence for the office?

The research notes a consistent trend: even in films where the President is a villain or corrupt, the office itself remains protected. Filmmakers typically ensure that unfit incumbents are removed by the end of the narrative, thus preserving the sanctity of the institution.

Does the author conclude that these films educate the public?

No, the author suggests that these portrayals do not educate the public about realistic politics, but rather cater to cultural myths and the public's desire for heroic, "larger-than-life" leaders who possess the personal traits of an "everyman."