scholarly journals Drone Vision

2015 ◽  
Vol 13 (2) ◽  
pp. 233-249 ◽  
Author(s):  
Daniel Greene
Keyword(s):  
Popular Culture ◽  
Visual Culture ◽  
War On Terror ◽  
Security Studies ◽  
Public Accounting ◽  
Global War On Terror ◽  
Political Network ◽  
Drone Warfare ◽  
Global War ◽  
Globally Distributed

What does the drone want? What does the drone need? Such questions, posed explicitly and implicitly by anthropomorphized drones in contemporary popular culture, may seem like distractions from more pressing political and empirical projects addressing the Global War on Terror (GWOT). But the artifacts posing these questions offer a different way of viewing contemporary surveillance and violence that helps decouple the work of drones from justifications for drone warfare, and reveals the broader technological and political network of which drones are the most immediate manifestation. This article explores ‘drone vision’ a globally distributed apparatus for finding, researching, fixing and killing targets of the GWOT, and situates dramatizations of it within recent new materialist theoretical debates in surveillance and security studies. I model the tactic of ‘seeing like a drone’ in order to map the networks that support it. This tactic reveals a disconnect between the materials and discourses of drone vision, a disconnect I historicize within a new, imperial visual culture of war distinct from its modernist, disciplinary predecessor. I then explore two specific attempts to see like a drone: the drone art of London designer James Bridle and the Tumblr satire Texts from Drone. I conclude by returning to drone anthropomorphism as a technique for mapping the apparatus of drone vision, arguing that drone meme arises precisely in response to these new subjects of war, as a method to call their diverse, often hidden, materials to a public accounting.

scholarly journals Drawing Fear of Difference: Race, Gender, and National Identity in Ms. Marvel Comics

2019 ◽  
Vol 48 (2) ◽  
pp. 165-197
Author(s):  
Dean Cooper-Cunningham
Keyword(s):  
Popular Culture ◽  
National Identity ◽  
International Relations ◽  
War On Terror ◽  
Global War On Terror ◽  
Identidad Nacional ◽  
Official Discourse ◽  
Marvel Comics ◽  
Feminist Poststructuralist ◽  
Global War

Feminist scholars have provided important analyses of the gendered and racialised discourses used to justify the Global War on Terror. They show how post-9/11 policies were made possible through particular binary constructions of race, gender, and national identity in official discourse. Turning to popular culture, this article uses a Queer feminist poststructuralist approach to look at the ways that Ms. Marvel comics destabilise and contest those racialised and gendered discourses. Specifically, it explores how Ms. Marvel provides a reading of race, gender, and national identity in post-9/11 USA that challenges gendered-racialised stereotypes. Providing a Queer reading of Ms. Marvel that undermines the coherence of Self/Other binaries, the article concludes that to write, draw, and circulate comics and the politics they depict is a way of intervening in international relations that imbues comics with the power to engage in dialogue with and (re)shape systems of racialised-gendered domination and counter discriminatory legislation. Dibujando miedo a la diferencia: raza, género e identidad nacional en Ms. Marvel Comics

Representing torture in Zero Dark Thirty (2012): Popular culture as a site of norm contestation

2019 ◽  
pp. 175063521986402 ◽  
Author(s):  
Gabi Schlag
Keyword(s):  
Popular Culture ◽  
War On Terror ◽  
Public Image ◽  
Global War On Terror ◽  
The Public ◽  
Global War ◽  
A Site ◽  
Enhanced Interrogation ◽  
Kathryn Bigelow ◽  
The Continuum

The global war on terror (GWOT) is undoubtedly the most recent case where a government authorized ‘enhanced interrogation techniques’, a euphemism for torture. In addition to shocking stories and photographs from Guantánamo, Abu Ghraib and CIA black site prisons, popular culture assists in the production of torture’s public image and indicates a site of norm contestation. Therefore, the aim of this article is threefold. First, the author shows that Zero Dark Thirty (2012, dir. Kathryn Bigelow) is constitutive for the public image of torture and its meaning-in-use. Second, she argues that the film’s representation of torture works as a popular site of contesting the anti-torture norm. Finally, she reflects on the continuum between popular culture and the politics of torture.

Protecting the home front: The 10-year global war on terror and our military families

2013 ◽  
Author(s):  
Candice A. Alfano ◽  
Jessica Balderas ◽  
Simon Lau ◽  
Brian E. Bunnell ◽  
Deborah C. Beidel
Keyword(s):  
War On Terror ◽  
Military Families ◽  
Home Front ◽  
Global War On Terror ◽  
Global War

The Global War on Terror.

2015 ◽  
Vol 20 (2) ◽  
pp. 133-136 ◽  
Author(s):  
Abigail B. Calkin
Keyword(s):  
War On Terror ◽  
Global War On Terror ◽  
Global War

War and Terror

2017 ◽  
Author(s):  
Avinash Paliwal
Keyword(s):  
War On Terror ◽  
Global War On Terror ◽  
Military Action ◽  
Global Trend ◽  
The Us ◽  
The World ◽  
Global War

The Taliban’s destruction of the Bamiyan Buddha in March 2001 outraged India (and the world). It killed any scope for conciliation with the Taliban. In this context, the US decision to take military action in Afghanistan after the 9/11 attacks was welcomed by many in India. However, Washington’s decision to undertake such action without UN approval (which came only in December 2001) sparked another round of debate between the partisans and the conciliators. As this chapter shows, the former were enthusiastic about supporting the US in its global war on terror, but the latter advocated caution given Washington’s willingness to partner with Islamabad. Despite the global trend to ‘fight terrorism’, the conciliators were successful in steering India away from getting involved in Afghanistan militarily.

Deterrence and Democracy

2018 ◽  
Author(s):  
Richard A. Falkenrath
Keyword(s):  
War On Terror ◽  
Terrorist Attacks ◽  
Global War On Terror ◽  
Counter Terrorism ◽  
Liberal Democratic ◽  
The Us ◽  
Democratic Societies ◽  
Global War ◽  
Taking Action ◽  
The Given

This chapter examines strategy and deterrence and traces the shift from deterrence by ‘punishment’ to deterrence by ‘denial’ in Washington’s conduct of the Global War on Terror. The former rested on an assumption that the consequences of an action would serve as deterrents. The latter may carry messages of possible consequences, but these are delivered by taking action that removes the capabilities available to opponents – in the given context, the Islamist terrorists challenging the US. Both approaches rest on credibility, but are more complex in the realm of counter-terrorism, where the US authorities have no obvious ‘return to sender’ address and threats to punish have questionable credibility. In this context, denial offers a more realistic way of preventing terrorist attacks. Yet, the advanced means available to the US are deeply ethically problematic in liberal democratic societies. However, there would likely be even bigger questions if governments failed to act.

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