In the case of the Vietnam war it took long after the war had ended for the first critical films to come out. Americans in this respect still aren’t as bad as the French, who have yet to own up to their crimes in the colonies. Even today the best they can offer is oblique references to colonial depredations (take for example the awful Flanders). The French were so sensitive about their colonial legacy in Viet Nam even in 1979 that Francis Ford Coppola had to edit out a long section from Apocalypse Now lest it upset judges at the Cannes Film Festival.
However, the Iraq war has been unique insofar as it has produced some excellent cinema even as it has continued to grind on. Yet, most of these films have failed at the box office. Some of them perhaps understandably so: War Inc., Redacted, Lambs for Lions and Battle for Haditha were well-meaning, for example, but didn’t work so well as films. In the Valley of Elah, on the other hand, had all the right elements: an a-list cast comprising of multiple Oscar winners, an Oscar-winning writer and director, a superb screenplay; and yet, it was a complete commercial failure. So was Grace is Gone; and Rendition. So was another — perhaps one of the best — which also had all the right elements: Stop-Loss. The film is based on the experiences of director Kimberley Peirce’s own brother, and it makes news stories such as the following from the Guardian rather predictable.
An Iraq war veteran has been arrested and charged with threatening to kill his officers after recording a violent rap protest song and sending it to the Pentagon.
Marc Hall, a junior member of an infantry unit, wrote the song in protest at the US army’s unpopular policy of involuntarily extending soldiers’ service and forcing them to return to Iraq or Afghanistan.
Hall completed a 14-month spell in Iraq last year, expecting to be discharged next month, but was told he would have to go back to Iraq under the policy known as stop-loss.




A media institution in her own right, Amy Goodman has shown the true potential of independent media over the past 12 years by turning 
Al Jazeera has long set the bar for war reporting; Sherine Tadros and Ayman Mohyeldin have raised it even higher with their coverage of the conflict in Gaza in 2008- 2009. Tadros and Mohyeldin were the only two journalists working for an international English-language television network reporting from inside Gaza. They braved the dangers of Israel’s indiscriminate assault to bring hour-by-hour reporting the tragedy as it unfolded. Their courage was matched by the quality of their journalism. In 2009, Tadros continued to report from the region, covering the creeping ethnic cleansing of occupied Palestine. Mohyeldin, likewise, continues to report on issues such as the network of tunnels between Egypt and Gaza which are vital for the transfer of food, medicine and fuel supplies into Gaza.