International Politics and Film: Space, Vision, Power (Short Cuts)
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International Politics and Film introduces readers to the representational qualities of film but also draws attention to how the relationship between the visual and the spatial is constitutive of international politics. Using four themes―borders, the state of exception, homeland and distant others―the territorial and imaginative dimensions of international affairs in particular are highlighted. But this volume also makes clear that international politics is not just something "out there"; film helps us better understand how it is also part of everyday life within the state―affecting individuals and communities in different ways depending on axes of difference such as gender, race, class, age, and ethnicity.
boots carefully – with the inference that they did not want to carry any trace of the ‘West Bank’, including its dirt, into Israel. In that instant, the realities of border control are brought to the fore in their varied visual manifestations as it seeks to control, order and regulate space. It is a space of performance, as both the soldiers and those wishing to cross the border play their roles perpetuating forms of behaviour associated with obedience and deference. For their part, those that
escalate. As Hubbard and Kraft travel to the FBI headquarters, a second incident occurs involving a bomb planted on a commuter bus. The explosion leads to the deaths of 25 people (the ‘worst bombing since the Oklahoma City attack’ according to the fictionalised news reports within the film, which further state that ‘Beirut came to Brooklyn today’ – a proclamation that re-works the geographical imagination of Brooklyn as being transformed into a conflict zone). Further attacks soon take place as a
Weinstock HERITAGE FILM: NATION, GENRE AND REPRESENTATION Belén Vidal QUEER CINEMA: SCHOOLGIRLS, VAMPIRES AND GAY COWBOYS Barbara Mennel ACTION MOVIES: THE CINEMA OF STRIKING BACK Harvey O’Brien BOLLYWOOD: GODS, GLAMOUR AND GOSSIP Kush Varia THE SPORTS FILM: GAMES PEOPLE PLAY Bruce Babington THE HEIST FILM: STEALING WITH STYLE Daryl Lee INTERNATIONAL POLITICS AND FILM SPACE, VISION, POWER SEAN CARTER & KLAUS DODDS WALLFLOWER LONDON and NEW YORK A Wallflower Press Book
Republic. Poignantly, as it turns out, there were reports that the Pentagon was organising private screenings of the film in order to warn US personnel serving in Iraq about the dangers posed by foreign occupation. As with other films such as The Siege (1998), The Battle of Algiers has been widely regarded as prescient, profound and anything but mere entertainment. Issues such as torture (depicted here in The Battle of Algiers) can resonant across different historical and geographical
been termed ‘warrior geopolitics’ (which involve military action and ‘values’ such as masculine valour and bravery) were more successful than more explicitly contemporary ‘War on Terror movies’, depicting torture and extra-judicial killing in Afghanistan and Iraq (see Dalby 2008). Audiences, so the argument goes, watched films such as Black Hawk Down (2001) because they wanted to identify through various embodied subject positions that ‘America’ possessed the kind of men and equipment deemed