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“War porn,” n. Videos, images, and narratives featuring graphic violence, often brought back from combat zones, viewed voyeuristically or for emotional gratification. Such media are often presented and circulated without context, though they may be used as evidence of war crimes. War porn is also, in Roy Scranton’s searing debut novel, a metaphor for the experience of war in the age of the War on Terror, the fracturing and fragmentation of perspective, time, and self that afflicts soldiers and civilians alike, the global networks and face-to-face moments that suture our fragmented lives together. In War Porn three lives fit inside one another like nesting dolls: a restless young woman at an end-of-summer barbecue in Utah; an American soldier in occupied Baghdad; and Qasim al-Zabadi, an Iraqi math professor, who faces the US invasion of his country with fear, denial, and perseverance. As War Porn cuts from America to Iraq and back again, as home and hell merge, we come to see America through the eyes of the occupied, even as we see Qasim become a prisoner of the occupation. Through the looking glass of War Porn, Scranton reveals the fragile humanity that connects Americans and Iraqis, torturers and the tortured, victors and their victims.
As a photographer covering conflicts and natural disasters for international publications, Christoph Bangert is regularly confronted with a dilemma: On the one hand he tries to document events as truthful to his own experience as possible but on the other hand he needs to accommodate several layers of self-censorship. Using his images taken during the past ten years in Afghanistan, Iraq, Indonesia, Lebanon and Gaza, Bangert started an experiment: What would happen if we suppressed our need for self- censorship? The result is a raw yet personal book.
For readers of Peggy Orenstein and Rebecca Traister, an authoritative, big think look at pornography in all its facets - historical, religious, and cultural. In the 1960s, sex researchers Masters and Johnson declared the end of the fake orgasm. Nearly two decades later, in 1982, evangelical activist Tim LaHaye foretold that the entire pornography industry would soon be driven out of business. Neither prediction proved true. Instead, with the rise of the internet, pornography saturates the American conscience more than ever and has reshaped our understanding of sexuality, relationships, media, and even the nature of addiction. Dr. Kelsy Burke has spent the last five years researching and interviewing internet pornography's opponents and its sympathizers. In The Pornography Wars, Burke does a deep dive into the long history of pornography in America and then turns her gaze on our present society to examine the ways this industry touches on the most intimate parts of American lives. She offers a complete understanding of the major players in the debates around porn's place in society: everyone from sex workers, activists, therapists, religious leaders, and consumers. In doing so, she addresses and debunks the myths that surround porn and porn usage while showing how everything from the way we teach children about sex to the legal protections for what can be published is tied up in the deeply complicated battles over pornography. Sweeping, savvy, and deeply researched, The Pornography Wars is a necessary and comprehensive new look at pornography and American life.
The Postmasculinist Marines and New Optics of Combat -- The Gladiator Robot and the Critique of Remote Warfare -- 6 Synthetic Visions of War: Conclusion and Epilogue -- Biopolitics and the Costs of War -- Digital Culture and the Computational Marine -- Subjectivity Lives and Dies -- Notes -- Essay on Primary Sources -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z
South Asian Pornographies by Darshana Sreedhar Mini,Anirban K. Baishya Pdf
South Asian Pornographies is the first consolidated volume that explores the relationships between pornography, obscenity, law and desire in South Asia. Focusing on case studies from India, Sri Lanka and Bangladesh while gesturing towards other countries in South Asia, the authors of this volume come from fields as varied as history, literature, media and communication, and the visual arts. The book proposes that as a geo-political location, South Asia has a unique relationship to pornography, given the multiplicity of cultural and legal-censorial regimes that define the obscene and the permissible. South Asian case studies can demonstrate how pornography in the region is often defined in oblique terms, finding reflection in various modes of popular (and sometimes underground) culture, bypassing legal and censorial constraints. Like questions of identity that can only be answered in the plural (identities rather than identity), this book demonstrates how a range of pornographies constitutes the force field of sexualized media in South Asia. It will be of interest to researchers and advanced students of Communication Studies, Cultural Studies, Film Studies, History, Sociology, and Social and Cultural Anthropology. The chapters in this book were originally published in the journal Porn Studies.
The War on Terror and American Popular Culture by Andrew Schopp,Matthew B. Hill Pdf
The War on Terror and American Popular Culture is a collection of original essays by academics and researchers from around the world that examines the complex interrelation between the Bush administration's "War on Terror" and American popular culture. Written by experts in the fields of literature, film, and cultural studies, this book examines in detail how popular culture reflects concerns and anxieties about the September 11 attacks and the war those attacks generated, how it interrogates the individual and collective impacts that war has wrought, how it might challenge or critique current policy, and how it might reinforce or endorse the war and its sociopolitical paradigms.
Owen W. Gilman Jr. stresses the US experience of war in the twenty-first century and argues that wherever and whenever there is war, there will be imaginative responses to it, especially the recent wars in Afghanistan and Iraq. Since the trauma of September 11, the experience of Americans at war has been rendered honestly and fully in a wide range of texts--creative nonfiction and journalism, film, poetry, and fiction. These responses, Gilman contends, have packed a lot of power and measure up even to World War II's literature and film. Like few other books, Gilman's volume studies these new texts--among them Kevin Powers's debut novel The Yellow Birds and Phil Klay's short stories Redeployment, along with the films The Hurt Locker, American Sniper, and Billy Lynn's Long Halftime Walk. For perspective, Gilman also looks at some touchstones from the Vietnam War. Compared to a few of the big Vietnam books and films, this new material has mostly been read and watched by small audiences and generated less discussion. Gilman exposes the circumstances in American culture currently preventing literature and film of our recent wars from making a significant impact. He contends that Americans" inclination to demand distraction limits learning from these compelling responses to war in the past decade. According to Gilman, where there should be clarity and depth of knowledge, we instead face misunderstanding and the anguish endured by veterans betrayed by war and our lack of understanding.
Who is the “Faithful and Discreet Slave”? If you are a Jehovah’s Witness, no doubt you have a deep love for the truth. Chances are, you would also agree that “no matter how much Bible reading we have done, we would never have learned the truth on our own” (The Watchtower, December 1, 1990, p. 19). Most of what you know about Jehovah God and his Word you learned from the “faithful and discreet slave class.” This is why you go door to door: to share what you have learned with others. But isn’t it possible that some of the Watchtower Society’s teachings could be wrong? After all, they’ve been wrong in the past. Wasn’t C. T. Russell wrong when he expected to be taken to heaven in 1914? Wasn’t J. F. Rutherford wrong when he predicted that men like Moses and David would soon be resurrected and live in the Watchtower’s mansion in San Diego? And isn’t it possible that N. H. Knorr and F. W. Franz were wrong in saying that the generation of 1914 would live to see the end of this wicked system of things? If “God’s organization” was wrong about these things, shouldn’t we consider the possibility that they are still wrong about other, more important doctrines as well? Why is it, then, that most Witnesses will never question the Society’s teachings, even when they “teach commands of men as doctrines” (Matthew 15:9)? What gives them this kind of authority? As you know, their claim to authority rests entirely on their interpretation of Jesus’ parable of the “faithful and discreet slave”: “Who really is the faithful and discreet slave whom his master appointed over his domestics, to give them their food at the proper time? Happy is that slave if his master on arriving finds him doing so. Truly I say to you, He will appoint him over all his belongings” (Matthew 24:45-47). They believe this text makes them God’s channel for providing spiritual food to his people. “In 1919 that slave was identified as the remnant of anointed Christians. Since then, as represented by the Governing Body of Jehovah’s Witnesses, it has been the center of theocracy on earth” (The Watchtower, January 15, 1994, p. 16). Since so much rests on this passage, it is only right that we examine just what Jesus meant in this parable. The Society insists that Jesus was speaking not of individuals, but of a group of people who are members of an organization. The problem is, in Luke’s account, Jesus specifically applies the parable to individuals. “Indeed, everyone to whom much was given, much will be demanded of him; and the one whom people put in charge of much, they will demand more than usual of him” (Luke 12:48). The parable has to do with Christian stewardship. In fact, it follows the same pattern as the parable of the talents (Matthew 25:14-30) or minas (Luke 19:12-27). A master departs, leaving work for his slaves. When he returns, he evaluates their faithfulness and rewards or punishes them accordingly. It’s interesting that the Society applies these parables to individuals, while applying the “faithful and discreet slave” parable (Matthew 24:45-51) to an organization. Their interpretation is inconsistent. This teaching on the faithful stewardship of individuals is reflected elsewhere in Scripture. “In proportion as each one has received a gift, use it in ministering to one another as fine stewards of God’s undeserved kindness expressed in various ways” (1 Peter 4:10). “Let a man so appraise us as being subordinates of Christ and stewards of sacred secrets of God. Besides, in this case, what is looked for in stewards is for a man to be found faithful” (1 Corinthians 4:1, 2). Can you say that Jesus is your Master? If so, think about what it says of your stewardship when you accept the Watchtower’s teachings without question, knowing that the Bible never approves of such a practice. Have you noticed that the Society often encourages others to examine their religion, but discourages you from doing the same? How ironic that the Society’s first president, C. T. Russell, wrote: “If any one knows anything better, let him take it. If any of you ever find anything better, we hope you will tell us” (The Watchtower, December 1, 1990, p.19). We think we have something better! We encourage you to compare the teachings of the Watchtower Society with those of solid evangelical Christians. Otherwise, how will you know you’ve really been feeding on the best spiritual food? As a suggestion, start by reading a book (like Systematic Theology by Wayne Grudem) which examines the biblical basis for the different views of all the major doctrines. We pray that Jehovah will guide you as you seek to be a faithful slave of our Lord, Jesus Christ.
Militarization by Roberto J. González,Hugh Gusterson,Gustaaf Houtman Pdf
Militarization: A Reader offers a range of critical perspectives on the dynamics of militarization as a social, economic, political, cultural, and environmental phenomenon. It portrays militarism as the condition in which military values and frameworks come to dominate state structures and public culture both in foreign relations and in the domestic sphere. Featuring short, readable essays by anthropologists, historians, political scientists, cultural theorists, and media commentators, the Reader probes militarism's ideologies, including those that valorize warriors, armed conflict, and weaponry. Outlining contemporary militarization processes at work around the world, the Reader offers a wide-ranging examination of a phenomenon that touches the lives of billions of people. In collaboration with Catherine Besteman, Andrew Bickford, Catherine Lutz, Katherine T. McCaffrey, Austin Miller, David H. Price, David Vine
War as Spectacle by Anastasia Bakogianni,Valerie M. Hope Pdf
War as Spectacle examines the display of armed conflict in classical antiquity and its impact in the modern world. The contributors address the following questions: how and why was war conceptualized as a spectacle in our surviving ancient Greek and Latin sources? How has this view of war been adapted in post-classical contexts and to what purpose? This collection of essays engages with the motif of war as spectacle through a variety of theoretical and methodological pathways and frameworks. They include the investigation of the portrayal of armed conflict in ancient Greek and Latin Literature, History and Material Culture, as well as the reception of these ancient narratives and models in later periods in a variety of media. The collection also investigates how classical models contribute to contemporary debates about modern wars, including the interrogation of propaganda and news coverage. Embracing an interdisciplinary approach to the study of ancient warfare and its impact, the volume looks at a variety of angles and perspectives, including visual display and its exploitation for political capital, the function of internal and external audiences, ideology and propaganda and the commentary on war made possible by modern media. The reception of the theme in other cultures and eras demonstrates its continued relevance and the way antiquity is used to justify as well as to critique later conflicts.
War Isn't Hell, It's Entertainment by Rikke Schubart,Fabian Virchow,Debra White-Stanley Pdf
Real war is a cruel theater of death, yet it is also an exciting narrative exploited for national, political and commercial purposes and turned into numerous films, television shows, computer games, news stories and reenactment plays. These essays examine the relationship between war, visual media and entertainment from a number of academic perspectives. Key topics include how war is used as an imaginary site to stage dramas; how boundaries between war, media, and entertainment dissolve as new media alters the formal qualities of representation; how entertainment is used to engage audiences; and what effect products of war and entertainment have on consumers of popular culture.
Curating and Re-Curating the American Wars in Vietnam and Iraq by Christine Sylvester Pdf
"Curating and Re-Curating the American Wars in Vietnam and Iraq is about looking for war knowledge in unexpected places, such as war memorials, museum exhibitions, war cemeteries, and novels and memoirs. What one finds there can contradict the prescribed understandings of a particular war or, say, endorse the tendency to treat military personnel as heroes to be thanked. Especially when 'ordinary curators' display memories of their war experiences through the objects left at memorials and graves, or through the words they curate in war novels, the observer/reader gets a glimpse of actual lives lost, futures cut short and even some of the dull noncombat jobs military do in war zones. The main point is that war is a social institution and its experiences are plentiful and decentralized. Many scholars and other interested readers look for war in the decisions and movements of militaries and states, but this book's difference is that it focuses on how a variety of formal and informal war curators present the American wars in Vietnam and Iraq at a moment of American militarism"--
Torture Porn in the Wake of 9/11 by Aaron Michael Kerner Pdf
Saw, Hostel, The Devil’s Rejects: this wave of horror movies has been classed under the disparaging label “torture porn.” Since David Edelstein coined the term for a New York magazine article a few years after 9/11, many critics have speculated that these movies simply reflect iconic images, anxieties, and sadistic fantasies that have emerged from the War on Terror. In this timely new study, Aaron Kerner challenges that interpretation, arguing that “torture porn” must be understood in a much broader context, as part of a phenomenon that spans multiple media genres and is rooted in a long tradition of American violence. Torture Porn in the Wake of 9/11 tackles a series of tough philosophical, historical, and aesthetic questions: What does it mean to call a film “sadistic,” and how has this term been used to shut down critical debate? In what sense does torture porn respond to current events, and in what ways does it draw from much older tropes? How has torture porn been influenced by earlier horror film cycles, from slasher movies to J-horror? And in what ways has the torture porn aesthetic gone mainstream, popping up in everything from the television thriller Dexter to the reality show Hell’s Kitchen? Reflecting a deep knowledge and appreciation for the genre, Torture Porn in the Wake of 9/11 is sure to resonate with horror fans. Yet Kerner’s arguments should also strike a chord in anyone with an interest in the history of American violence and its current and future ramifications for the War on Terror.
When Canadian soldier Fred Doucette went to Bosnia-Herzegovina as a peacekeeper in 1995, he had a premonition that this tour of duty would be different from anything he had previously experienced. And it was. Doucette's tour quickly became an impossible task that took a huge toll on both the residents and his fellow peacekeepers. Trapped in thier beloved city, thousands of Sarajevans, perished, and yet, Doucette found a home in the midst of this hell. Billeted with a Bosnian family, he was offered a window into a Sarajevo that few outsiders saw. When the war ended, Doucette returned to Canada to face another battle, this one characterized by nightmares and brutal flashbacks. Traumatized, he had to face himself, his family, and his army once again, but now there was no turning away, no diversion in another foreign posting. Empty Casing is the riveting story of the making and unmaking of a soldier, and the growth of a man.