A new edition of the ever-interesting Mediatropes is now online (it’s open access), this time on Intelligence and War: you can access the individual essays (or download the whole issue) here. Previous issues are all available here.
The issue opens with an editorial introduction (‘Intelligence and War’ by Stuart J Murray, Jonathan Chau, Twyla Gibson. And here is Stuart’s summary of the rest of the issue:
Michael Dorland’s “The Black Hole of Memory: French Mnemotechniques in the Erasure of the Holocaust” interrogates the role of memory and memorialization in the constitution of post-World War II France. Dorland hones in on the precarity of a France that grapples with its culpability in the Vel’ d’Hiv Round-up, spotlighting the role of the witness and the perpetually problematized function of testimony as key determinants in challenging both the public memory and the historical memory of a nation.
Sara Kendall’s essay, “Unsettling Redemption: The Ethics of Intra-subjectivity in The Act of Killing” navigates the problematic representation of mass atrocity. Employing Joshua Oppenheimer’s investigation of the Indonesian killings of 1965–1966, Kendall unsettles the documentary’s attempts to foreground the practices of healing and redemption, while wilfully sidestepping any acknowledgment of the structural dimensions of violence. To Kendall, the documentary’s focus on the narratives of the perpetrators, who function as proxies for the state, makes visible the aporia of the film, substituting a framework based on affect and empathy in place of critical political analyses of power imbalances.
Kevin Howley is concerned with the spatial ramifications of drone warfare. In “Drone Warfare: Twenty-First Century Empire and Communications,” Howley examines the battlefield deployment of drones through the lens of Harold Innis’s distinction between time-biased and space-biased media. By considering the drone as a space-biased technology that can transmit information across vast distances, yet only remain vital for short periods of time, Howley sees the drone as emblematic of the American impulse to simultaneously and paradoxically collapse geographical distance while expanding cultural differences between America and other nations.
Avital Ronell’s essay, entitled “BIGLY Mistweated: On Civic Grievance,” takes direct aim at the sitting US president, offering a rhetorical analysis of what she calls “Trumpian obscenity.” Ronell exposes the foundations of the current administration, identifying a government bereft of authority, stitched together by audacity, and punctuated by an almost unfathomable degree of absurdity. In her attempt to make sense of the fundamentally nonsensical and nihilistic discourse that Trump represents, Ronell walks alongside Paul Celan, Melanie Klein, and especially Jacques Derrida, concluding with a suggestive, elusive, and allusive possibility for negotiating the contemporary, Trumpian moment.
In “The Diseased ‘Terror Tunnels’ in Gaza: Israeli Surveillance and the Autoimmunization of an Illiberal Democracy,” Marouf Hasian, Jr. explains how Israel’s state-sanctioned use of autoimmunizing rhetorics depict the lives of Israelis as precarious and under threat. Here, the author’s preoccupation is with the Israeli strategy of rhetorically reconfiguring smuggling tunnels as “terror tunnels” that present an existential threat to Israeli citizens. In doing so, he shows how the non-combatant status of Gazan civilians is dissolved through the intervening effects of these media tropes.
Derek Gregory’s essay, “The Territory of the Screen,” offers a different perspective on drone warfare. Gregory leverages Owen Sheers’s novel, I Saw a Man, to explore the ways in which modern combat is contested through a series of mediating layers, a series of screens through which the United States, as Gregory argues, dematerializes the corporeality of human targets. For Gregory, drone warfare’s facilitation of remote killings is predicated on technical practices that reduce the extinguishing of life to technological processes that produce, and then execute, “killable bodies.”
But how is the increasingly unsustainable illusion of intelligence as being centralized and definitive maintained? Julie B. Wiest’s “Entertaining Genius: U.S. Media Representations of Exceptional Intelligence” identifies the media trope of exceptionally intelligent characters across mainstream film and television programs as key to producing and reinforcing popular understandings of intelligence. Through her analysis of such fictional savants, Wiest connects these patterns of representation to the larger social structures that reflect and reinforce narrowly defined notions of intelligence, and those who are permitted to possess it.
We end this issue with a poem from Sanita Fejzić, who offers a perspective on the human costs of war that is framed not by technology, but through poetic language.
My own essay is a reworked version of the penultimate section of “Dirty Dancing” (DOWNLOADS tab) which we had to cut because it really did stretch the length limitations for Life in the Age of Drone Warfare; so, as Stuart notes, I re-worked it, adding an extended riff on Owen Sheers‘ luminous I saw a man and looping towards the arguments I since developed in ‘Meatspace?‘