Few real-world events have served as more durable prisms for American art than the Vietnam War. The conflict itself, the protest movement that opposed it, and the disillusionment its participants felt in its wake were all central to the New Hollywood, in brutal parables like Elia Kazan’s The Visitors and Coppola’s Apocalypse Now , exegeses like Michael Cimino’s The Deer Hunter and Kubrick’s Full Metal Jacket , and even refracted through genre fare like the Rambo series and popular television