Apocalypse Now has been interpreted as addressing the Vietnam War in a similarly mythological and hence ahis¬torical way as the high modernist poetry recited by Colonel Kurtz. The closer, post-colonial view of this paper in the German language, however, shows that the 2001 Redux- version of Coppoläs film questions the imperialist US sys¬tem on several levels. By mockery it subverts the ide¬ology of free-trade underlying the confrontation between the super powers in the Cold War and the Vietnam War itself. Also, the movies technique of montage fundamen¬tally questions the author¬ity of the military apparatus and exposes the un¬tenable nature of Willards killing mission. The visit of the Captains boat crew in the French colony serves to further outline the extent to which the doomed imperial war project is grafted as a palimpsest on the equally outdated re¬mains of the French colonial past. As a conse¬quence both forms of intervention are cinemato¬graphically dele¬gitimized, especially by means of uncanny props exposing the de¬gree to which they are haunted by the contradictions between ide¬ological justification, US-historical genocidal past in the case of the Vietnam War and a belligerent present oper¬ating also by means of arbitrarily constructed alterity.

This makes obvious Reduxs practice of in Edward Saids termi-no¬logy establishing anti-imperialist re¬sistance against the US warfare. One of the movies key strategies to expose the inhumane moral universe of the war theatre is Kurtzs method of making Willard and the viewers of the movie experience the large-scale massa¬cre in a lavish, synesthetic total work of art in¬spired by Stanislavskis ident¬ifi¬catory method acting and Ri¬chard Wagner. This didactic Gesamtkunstwerk also makes use of further cin¬ematogra¬phic adaptations of uncanny ele¬ments ac-cording to Sig¬mund Freud and strategically mobilizes a displaced version of mimicry.