The Patriot (2000) generally functions as a supportive, monumental secondary source, much like Mann's The Last of the Mohicans, despite its romanticization of the French and Indian War, by portraying colorful yet brutal imagery of the Revolutionary conflict within the southern theater, particularly with regard to the Battle of Camden—although it is equally a mere blip in the grand scheme of the war effort and the film. The dual factions, headed by General Gates and Cornwallis (both significant military figures in their own right), marching upon each other, all with the relatively unaltered intention of showcasing the true extent of the British and Continental infantry engaging in a swift and gruesome skirmish. As well as to be, accurately, followed by the Americans' even swifter defeat as Cornwallis' forces “devastated the poorly prepared (Continental) army.” -Bailee Eberenz

The 2000s are rather famously known for their major displays of American Exceptionalism in the lead-up to the Post-9/11 conflict in Afghanistan, aptly dubbed the “War on Terror”; films catered to that foundational cultural pride and related martial agenda. This is ably reflected in Roland Emmerich's The Patriot (2000), as it depicts the very genesis of the United States of America, its formation, and the correlated militaristic forces American citizens coveted in the 2000s period. It practically functions as a love letter to the American people's national pride. -Bailee Eberenz