Cinematic Corpographies

News from Eileen Rositzka of her new book, Cinematic Corpographies: Re-Mapping the War Film Through the Body.  We’ve been corresponding since she started work on the project at St Andrews (she’s now at the Free University of Berlin), and I’m thrilled to see it in print (and on my screen):

Writing on the relationship between war and cinema has largely been dominated by an emphasis on optics and weaponised vision. However, as this analysis of the Hollywood war film will show, a wider sensory field is powerfully evoked in this genre. Contouring war cinema as representing a somatic experience of space, the study applies a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier’s body. These assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also entail the involvement of the spectator’s body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts.

Contents include:

Measuring the Trenches: Corpographies of the First World War

From Above and From Within: Aerial Views and Corpographic Transformations in the WWII Combat Film

Dismembering War: Touch and fragmentation in Anthony Mann’s Men in War

Uncharting Territories: The Vietnam War’s Shattering of the Senses

Zero Dark Thirty: Corpographies of the War on Terror

The sense of war


In the face – often literally so – of  attempts to render later modern war as somehow bodiless, a project that contorts itself into grotesque formations around the spectacularly contradictory vocabulary of ‘surgical strikes’ against the cancerous cells of insurgency and terrorism, I continue to be drawn to attempts to convey the  corporeality of its violence.  I started down this road in ‘The natures of war‘ and continue it in my attempts to think about what I call ‘corpographies‘ (see DOWNLOADS tab for both, and also here, here and here), and it is a constant concern in my current work on casualty evacuation from war zones.

So I was taken with a short extract from Janine di Giovanni‘s The Morning They Came for Us: Dispatches from Syria (2016) that appears in Harper‘s.  It’s called ‘The Sense of War‘ (in another register so often another oxymoron):

The morning they came for usWhat does war sound like? The whistling sound of the bombs falling can only be heard seconds before impact—enough time to know that you are about to die, but not enough time to flee.

What does the war in Aleppo smell of? It smells of carbine, of wood smoke, of unwashed bodies, of rubbish rotting, of . . . fear. The rubble on the street—the broken glass, the splintered wood that was once somebody’s home. On every corner there is a destroyed building that may or may not have bodies still buried underneath. Your old school is gone; so are the mosque, your grandmother’s house and your office. Your memories are smashed…

War is empty shell casings on the street, smoke from bombs rising up in mushroom clouds, and learning to determine which thud means what kind of bomb. Sometimes you get it right, sometimes you don’t.

War is the destruction, the skeleton and the bare bones of someone else’s life.

Anand Gopal thinks her prose is ‘overwrought’, though I don’t think that’s entirely surprising, and when Sebastian Junger says that she ‘has described war in a way that almost makes me think it never needs to be described again’, even in this short passage you can see – feel – what he means.  You can find other reviews here and here.

Bodies at risk

This is far more than a post-script to my last post.  In writing ‘The Natures of War’ I started to develop the concept of a corpography (see also ‘Corpographies’ DOWNLOADS tab) because I became keenly interested in the ways in which the entanglements between military violence and ‘nature’ were registered on and through the body.

I had an appreciative message from Eileen Rositzka, following my Neil Smith Lecture at St Andrews, and I’ve finally caught up with a marvellous, exquisitely illustrated essay she has co-written with Robert Burgoyne: ‘Goya on his Shoulder: Tim Hetherington, Genre Memory, and the Body at Risk.’  It was published in Frames Cinema Journal 7 (2015) and is available open access here.

The figure of the body in narratives of war has long served to crystallize ideas about collective violence and the value or futility of sacrifice, often functioning as a symbol of historical transformation and renewal or, contrastingly, as a sign of utter degeneration and waste. As a number of recent studies have shown, the power of somatic imagery to shape cultural perceptions of war has had a decisive impact on the way wars have been regarded in history, and has sometimes influenced the conduct of war as it unfolds.

Following my good friend Gastón Gordillo‘s exemplary lead, I’ve been thinking about extending my original analysis from the mud of the Western Front in the First World War, the deserts of North Africa in the Second, and the rainforests of Vietnam into Afghanistan (for the book-version of the essay), and ‘Goya on his shoulder’ is full of all sorts of ideas on how to do exactly that.  Gastón has made much of Sebastian Junger/Tim Hetherington‘s extraordinary film Restrepo – see here and especially here – and Robert and Eileen add all sorts of insights to the mix and, in particular, provide an illuminating visual genealogy of the issues at stake:

With their concentrated focus on the body in war, Restrepo and Infidel also mark an intervention into contemporary debates in the emerging doctrine of “bodiless war” or virtual war – what is known in war policy circles as the “Revolution in Military Affairs” (RMA). In contrast to the decorporealised, bloodless war culture promoted and even celebrated in many contemporary theories of war, Restrepo and Infidel implicitly dramatise the limitations of so called “optical war” in many current conflict zones, emphasising the body of the soldier as a critical site of representation and meaning.

Their journey takes them from photography of the American Civil War through Edward Steichen‘s mesmerising project to capture what they call ‘bodies at risk’ in the Pacific theatre of the Second World War to Afghanistan today.  As it happens, I’ve spent the last several weeks immersed in Steichen’s project for my ‘Reach from the skies’ lectures: Steichen was one of the foremost architects of aerial photography on the Western Front during the First World War, and the photographs taken of US sailors taken under his direction during the Second have much to show us about the entanglements between military violence, masculinism and the body (the slide below is taken from my discussion in ‘Reach from the sky’).

RFTS Masculinism and military violence.001

And so to Restrepo:

‘… the work of Hetherington and Junger marks an intervention in the contemporary cultural imaginary of war, dramatizing the limitations of so called “optical war” or “bodiless war” in the conflict zones of Afghanistan. The concentrated attention to the touchscape of modern war in their work, moreover, provides a fresh perspective on older traditions of visual representation, illuminating the genre codes of war photography and film in a new way. The visual and acoustic design of Restrepo, in particular, captures the haptic geography of combat in a remote mountain outpost in the Korengal Valley. The film highlights the concentrated experience of sound and touch, providing a first-person account of the way the body inhabits contested space, the way the intensities of war confuse and overwrite the sensory codes of vision, and the compensatory drive of somatic mastery, which is projected in vivid displays of masculine athleticism in the relative safety of the enclosure.

What Steichen called “the machinery of war” is all but absent in these images. Like Steichen, Hetherington expresses the brotherhood of the men in directly physical, gestural forms – in close physical contact, in the “bloodying” of new men, and in the tattoos they give each other with a tattoo gun they have brought up to the camp…

Depictions of war in Restrepo and Infidel revolve around touch – the heat, cold, and dirt, the intense exertion, the texture of skin. Although Hetherington’s images of white, muscular soldiers may be compared to the displays of imperial masculinity celebrated by Edison in his War-Graph actualities, and by Roosevelt in his appeal to the brave “game boys” of military adventure, they also relay the heightened sensuality of Steichen’s World War II sailors to a contemporary war setting. Scenes that contain a high quotient of violence – the firefights with insurgents, the roughhousing, the bloodying of new recruits – are here juxtaposed with shots of soldiers sleeping and other scenes of quiet reflection…

Foregrounding the body of the soldier as a medium of sensory experience and as a body at risk, their work recalls the long history of war photography, painting, and film, dramatizing the importance of the figure of the body in narratives of war, and the power of somatic imagery to shape cultural perceptions of conflict. In Restrepo and Infidel, haptic experience and embodied vulnerability unfold as the central fact of war, the heart of warfare. Here too, however, a certain cultural imaginary is invoked, visible in Junger’s discussion of “young men in war” and of the “hard wiring” of young men for the violence of war, a theme that sacrifices any consideration of context, as if war was an existential constant. Nonetheless, in this framing of contemporary western war, centred on the haptic geography of combat, we can see an initial sketch, an introduction, to a critical understanding of the corpography of war in the current period.

My extracts don’t do justice to the range and depth of the essay, and it really does repay close reading.

Bodies of violence


I’m finally working my way through Lauren Wilcox‘s impressive Bodies of Violence (see my earlier notice here), both to develop my ideas about corpography in general (see here, here and here) and to think through her arguments about drones in particular (in the penultimate chapter, ‘Body counts: the politics of embodiment in precision warfare’).

More on both later, but in the meantime there’s an extremely interesting symposium on the book over at The Disorder of Things that went on for most of last month.  I’ll paste some extracts below to give a flavour of the discussion, which is well worth reading in its entirety.

Lauren Wilcox on ‘Bodies of Violence: Theorizing embodied subjects in International Relations’.

[W]hile war is actually inflicted on bodies, or bodies are explicitly protected, there is a lack of attention to the embodied dynamics of war and security…. I focus on Judith Butler’s work, in conversation with other theorists such as Julia Kristeva, Donna Haraway and Katherine Hayles. I argue, as have others, that there is continuity between her works on “Gender” from Gender Trouble and Bodies that Matter and her more explicitly ethical and political works such as Precarious Life and Frames of War. A central feature of Butler’s concept of bodily precarity is that our bodies are formed in and through violence….
My book makes three interrelated arguments:

First, contemporary practices of violence necessitate a different conception of the subject as embodied. Understanding the dynamics of violence means that our conceptual frameworks cannot remain ‘disembodied’. My work builds on feminist and biopolitical perspectives that make the question of embodiment central to interrogating power and violence.

Second, taking the embodied subject seriously entails conceptualizing the subject as ontologically precarious, whose body is not given by nature but formed through politics and who is not naturally bounded or separated from others. Feminist theory in particular offers keen insights for thinking about our bodies as both produced by politics as well as productive of [politics].

Third, theorizing the embodied subject in this way requires violence to be considered not only destructive, but also productive in its ability to re-make subjects and our political worlds.

Antoine Bousquet on ‘Secular bodies of pain and the posthuman martial corps

[I]t increasingly appears that the attribution of rights is made to hinge on the recognition of their putative holder’s ability to feel pain, even where this might breach the species barrier or concern liminal states of human existence. As such, any future proponents of robot rights may well have to demonstrate less the sentient character of such machines than their sensitivity to pain (of course, it may well turn out that one entails the other). In relation to Bodies of Violence, if we are indeed to take the liberal conception of pain as purely negative as limiting (and we should perhaps not be too hastily dismissive of the moral and societal progresses that can be attributed to it), how does the recognition of ‘vulnerable bodies’ advocated by Wilcox depart from such an understanding? Is it simply a call for dismantling the asymmetries that render the pain of certain subjects less acknowledgeable than others or does it propose to actually restore a ‘positivity’ to suffering within a post-Christian worldview?…

[A]s our knowledge of the human as an object of scientific study grows, our conception of the human as a unitary and stable entity becomes increasingly untenable, incrementally dissipating into a much broader continuum of being to be brought under the ambit of control. But where does such an expanded framing of human life leave the ‘normative model of the body’ as ‘an adult, young, healthy, male, cisgendered, and non-racially marked body’ (p.51) from which all minoritarian deviations are to be variously silenced, regulated and policed? Does the technicist efficiency-driven mobilisation of human life not corrode those normative hierarchies that do not contribute to or might even impede such a process? As Wilcox notes, the traditional investment of masculinist values in the military institution is unsettled when ‘the precision bomber or drone operator is seen as a “de-gendered” or “post-gendered” subject, in which it does not matter whether the pilot or operator is a male or female’ (p.135). Indeed, there seems to be no inherent reason why any number of deviations from the normative body would be an obstacle to their integration into the assemblage of military drones, to stay with that example. One can even conceive of cases where they could be beneficial – might not certain ‘disabilities’ offer particularly propitious terrain for the successful grafting of cybernetic prosthetics? In this context, corporeal plasticity and ontological porosity seem less like the adversaries of posthuman martiality than its necessary enablers.

Kevin McSorley on ‘Violence, norms and embodiment

[W]hat sense there might be any particular limits to the explanatory value of the key sensitising theoretical framework of embodied performativity and ‘normative violence’ that is deployed across all the numerous case studies considered here. Notwithstanding the supplementary engagement in certain chapters with further vocabularies of e.g. abjection or the posthuman to problematize bodily boundaries, the social embodiment of violent norms is really the major theoretical underpinning of all of the analyses undertaken in each of the five different case studies selected for interpretation. My sense was that Bodies of Violence was primarily concerned with establishing broad proof of concept that such theoretical deployment could work rather than engaging with detailed questions about the potential limits of its conceptual purchase and differences in explanatory value across the five varied case studies. The analyses undertaken propose if anything a near-universal analytic utility for the conceptual framework deployed in that there is a consistent interpretation that underlying normative violences operate within each of the different case studies. Additional comparative analysis, that specifically highlighted and attempted to think through where and why the interpretative framework might be especially productive, or indeed where and why it might feel less resonant and begin to break down, may potentially be insightful for further theoretical elaboration….

[W]hat might happen if the many embodied subjects theorised were able to more consistently speak back to theory, if their feelings and desires were more enfleshed in the analysis[?] Would the stability of this conceptual grid of intelligibility remain intact and unmoved if such encounters and dialogues were able to be staged, if the complex emotions and meaning-worlds of those socially embodied subjects actively negotiating normative violences could have a more audible place in the analysis?

Alison Howell on ‘Bodies, and Violence: Thinking with and beyond feminist IR

Can a theory rooted in a singular concept of ‘the body’ take full account of difference? Can it register the diverse ways in which different bodies become subject to and constituted through power and violence, or management and governance?

Wilcox does amply illustrate that there is no such unitary thing as ‘the body’… [but] there are long-standing traditions of theorizing embodiment and de-naturalizing ‘the body’ in anti-racist, postcolonial, and disability scholarship. These critical traditions should not be subsumed under the category of feminist scholarship, though they do certainly engage with feminist theory, often critically. They make unique contributions to theorizing embodiment, often through intersectional analyses.

Bodies of Violence does take up many texts from these traditions, but, for instance makes use of Margrit Shildrick’s and Jasbir Puar’s earlier work on the body, without also contemplating each of their more recent work on disability and debility…. A second line of inquiry a renewed focus on embodiment potentially suggests might center around the as-yet unmet potential for studying the role of medicine in IR. The sine qua non of medicine is, after all, the body, and if embodiment is important in the study of IR, then we should also be studying that system of knowledge and practice that has taken for itself authoritative dominion over bodies and that does the kind of productive work in relation to embodiment that Wilcox is interested in illuminating.  As with disability studies, there is a significant literature, in this case emanating out of medical anthropology, medical sociology, bio-ethics and history of medicine….

But what of the book’s other titular concept: violence?  Bodies of Violence suggests that to study embodiment is also to study violence. Yet violence is a concept and not merely a bare fact: ‘violence’ is a way of making sense and grouping together a number of practices….

Butler’s work has been central to de-essentializing both sex and gender, thus undermining radical feminist theories of violence that ascribe peacefulness to women and violence to men.Yet Butler’s work is less useful as a tool for excavating the particularly racist and Eurocentric forms that radical feminist thought on violence has taken. Instead, we might look towards Audre Lorde’s debates with Mary Daly, and to the succeeding traditions of anti-racist feminist thought.

Pablo K [Paul Kirby] on ‘Bodies, what matter?

Thinking about the value of bodies draws us into a contemplation of human life and its treatment. Which is why the mere act of recognising bodies can seem tantamount to calling for the preservation and celebration of life. Drawing attention to bodies to highlight an equality of concern due to those who have otherwise been rendered invisible is itself to engage in materialisation, making those bodies matter in a different way. It is a way to turn bodies (which are, on the whole, visible to us) into persons (entities with value and meaning which we may not recognise). And yet the body – precisely because it is inescapable and ubiquitous – is also evasive, and the form of its mattering elusive.

For Judith Butler, ‘mattering’ is the conjoined process of materialisation (suggestive of the way bodies are produced or come into being) and meaning (how bodies are recognised and invested with worth). The stress in contemporaneous and subsequent work on material-isation (on matter-ing) is thus intended to signal a break with ideas of matter as simply there, as idle or inert, and therefore as a kind of brute fact which is inescapable or consistent in its ahistorical role. Thus we are pushed to examine not the characteristics of matter, but the historical process of mattering; not the innate sex that simply bears gender constructions, but the moments which seemed to establish bodies (or body parts) as prior to the sign system which names them. The point is well taken, and has consequences for a theory of embodiment…

And so what is needed is a deeper excavation of the form, degree and value of mattering.

For the so-called new materialists, such a theory means attributing a certain agency to bodily substance (genetics, morphology, neural pathways, flesh itself). As Karen Barad has insisted:

any robust theory of the materialization of bodies would necessarily take account of how the body’s materiality – for example its anatomy and physiology – and other material forces actively matter to the process of materialization.

This is importantly different to saying that political regimes interpret and work bodies in distinct ways. In Bodies of Violence, despite the emphasis on how bodies produce politics, it is mainly politics that produces bodies. Or better, politics that intervenes on and shapes bodies.

Lauren Wilcox, ‘Theorizing embodiment and making bodies “matter“‘

I saw a man

SHEERS I saw a man N Am ednLast week I was in Bloomington for the drones conference – more on that later – but while I was there I managed to finish Owen Sheers‘ new novel, I saw a man.  All of the reviews I’ve seen so far (and they have been very, very good: see here, here and here, for example) praise the way in which Owen so beautifully recovers the circles of grief that spiral from a drone strike on the Afghanistan-Pakistan border that accidentally killed a party of foreign journalists, including Caroline, the wife of the book’s narrator.  ‘Despite its “fire and forget” name tag,’ we are assured, ‘once a Hellfire had been released there would always be someone who never would.’

In fact, Owen and I had corresponded about the details of drone strikes and casualty investigations while he was working on the book, and he certainly treats mourning and memory with extraordinary skill and empathy.  Restricting the victims to those outside the region, apart from a local driver and interpreter, may make the task easier – much of the story plays out in Hampstead – but it’s still formidably difficult.


Yet the book is also, equally centrally, about distancing.  Michael is an author with a reputation for effacing himself from his narratives.  Towards the end, in a phrase that powers the book’s meta-fictional twist (and which in some editions is captured on a cover from which Sheers’ own name is absent), Michael is told:

 “Isn’t that what you’re always saying? You need distance to see anything clearly? To become your own editor.”

Even when he tries to lose himself in his fencing lessons, his instructor insists:

“DISTANCE! DISTANCE MICHAEL! It’s your best defence!”

And it is of course distance that is focal to the fateful drone strike.  Those most directly involved in the kill-chain are soon effaced from the official narrative:

“A U.S. drone strike.” That was all the press release said. No mention of Creech, screeners, Intel coordinator, an operator, a pilot. It was as if the Predator had been genuinely unmanned. As if there had been no hand behind its flight, no eye behind its cameras.

And those who were killed are artfully turned into the authors of their own destruction (a tactic that is routinely used on Afghan and Pakistani victims too), even sacrificed for a greater good (international humanitarian law’s vengeful doctrine of ‘necessity’):

[T]he Pentagon statement also made mention of the journalists “working undercover,” of “entering a high-risk area.” They had known, it was implied, the dangers of their actions. And, the same statement reminded the world, an influential terrorist had been successfully targeted. The weight of blame, Michael knew, from the moment it happened, was being dissipated, thinned.

But distance is not a moral absolute (one of the most egregious mistakes of critics of drone warfare: if you think it wrong to kill someone from 7,000 miles away, over what distance do you think it is acceptable?).  In a narrative arc that will be familiar to many readers, the pilot of the drone (Daniel) is haunted by what happened, and by the dismal intimacy of death.

Charleston Mountains NV

Each morning, as he sets off from his home outside Las Vegas to drive to Creech Air Force Base, Daniel reflects on the similarity of the distant Charleston mountains to those over which he would soon be flying his Predator or Reaper.  It’s a common trope, actually: George Brant makes much of it in his play Grounded.  ‘Despite their proximity,’ though, Daniel hadn’t been into them and didn’t really know them.

They were his daily view but not yet his landscape, a feature of his geography but not yet his territory. Unlike those other mountains, 8,000 miles away. Those mountains Daniel knew intimately. He’d never climbed in them, either, but he was still familiar with the villages silted into their folds, the shadows their peaks threw at evening and the habits of the shepherds marshalling their flocks along their lower slopes. Recently he’d even been able to anticipate, given the right weather conditions, at what time the clouds would come misting down the higher peaks into the ravines of the valleys. Over the last few months he’d begun to feel an ownership over them. Were they not as much his workplace as that of those shepherds? For the troops operating in the area they were simply elevation, exhaustion, fear. They were hostile territory. But for Daniel they were his hunting ground, and as such it was his job not just to know them but to learn them, too. To love them, even, so that from the darkness of his control station in Creech, he might be able to move through their altitudes as naturally as the eagles who’d ridden their thermals for centuries.

It’s a brilliant paragraph, reflective and revealing, that captures the ways in which the pilot’s optical knowledge is transmuted into ‘ownership’, knowledge pinned to power, and distanced from the corpographies of troops on the ground for whom the mountains meant only ‘elevation, exhaustion, fear’ [see also here].  Daniel was freed from all that, soaring high above them, precisely because his territory appeared elsewhere.  If, as Stuart Elden suggests, territory can be conceived as a political technology that asserts a claim over bodies-in-spaces, then one of the most perceptive passages in I saw a man is the description of Daniel scanning ‘the territory of his screen (my emphasis)’…

Screen Shot 2015-07-11 at 12.48.14 PM

Distance, intimacy, experience: all mediated by political technology and in consequence highly conditional and always partial.  That is how the pilot is made free to pursue what Grégoire Chamayou calls his ‘man-hunting‘: because what appears on the screen is a target – not a man or a woman.

Or, as the book’s epigraph says: ‘I saw a man who wasn’t there….’

Bodies on the line

The more I think about corpography (see also ‘Corpographies under the DOWNLOADS tab) – especially as part of my project on casualty evacuation from war zones – the more I wonder about Grégoire Chamayou‘s otherwise artful claim that with the advent of armed drones the ‘body becomes the battlefield’.  He means something very particular by this, of course, as I’ve explained before (see also here).

But let me describe the journey I’ve been taking in the last week or so that has prompted this post. Later this month I’m speaking on ‘Wounds of war, 1914-2014‘, where I plan to sketch a series of comparisons between casualty evacuation on the Western Front (1914-18) and casualty evacuation from Afghanistan.  I’ve already put in a lot of work on the first of these, which will appear on these pages in the weeks and months ahead, but it was time to find out more about the second.


En route I belatedly discovered the truly brilliant work of David Cotterrell who is, among many other things, an installation artist and Professor of Fine Art at Sheffield Hallam University.  He became interested in documenting the British military casualty evacuation chain from Afghanistan, and in 2007 secured access to the Joint Medical Forces’ operations at Camp Bastion in Helmand.  He underwent basic training, a course in even more basic battlefield first-aid, and then found himself on an RAF transport plane to Bastion.  The Role 3 Hospital was, as he notes, a staging-ground. ‘Field hospitals are islands between contrasting environments,’ he wrote in his diary, ‘between the danger and dirt of the Forward Operating Bases and the order and convention of civilian healthcare.’  You can read a long, illustrated extract from the diary (3 – 26 November 2007) here, follow the photo-essay as a slideshow here, and explore David’s many other projects on his own website here.

THEY-WERE-SOLDIERS_by-Ann-Jones_72The diary is immensely interesting and informative in its own right, not least about the exceptional personal and professional difficulties involved in documenting the evacuation process.  Here there’s a helpful comparison to be made with journalist Ann Jones‘s no less brilliant They were soldiers: how the wounded return from America’s wars (more on this in a later post), which starts at the US military’s own Level III Trauma Center, the Craig Joint Theater Hospital at Bagram, and moves via Landstuhl Regional Medical Center in Germany, the largest US hospital outside the United States, to the Walter Reed Army Medical Center in Washington DC.

David’s visual record is even more compelling, as you would expect from a visual artist, not only in its documentary dimension but also in the installations that have been derived from it.  In Serial Loop, for example, we are confronted with a looped film showing the endless arrival of casualties at Bastion: ‘The sound of a continuously arriving and departing Chinook helicopter accompanies images of a bleak and wasted landscape; the banality of the film’s fixed perspective masks the dramas that unfold within the ambulances as they travel to triage.’

9-liner explores what David calls ‘the abstraction of experience within conflict’:

9-Liner explores the dislocation between the parallel experiences of casualties within theatre. It is a quiet study of a dramatic event: the attempt to bring an injured soldier to the tented entrance of the desert field hospital. The screens show apparently unrelated information. JCHAT – a silent scrolling codified message – runs on a central screen. Our interpretation of it is enabled through its relationship between one of two radically different but equally accurate views of the same event. To the left we see the Watchkeeper – a soldier manning phones and reading computer screens in a crowded office. On the right we view the MERT flight – the journey of the Medical Emergency Response Team in a Chinook helicopter.

SHU’s REF submission includes this summary of David’s work (one of the very few useful things to come out of that otherwise absurdist exercise):

The research made clear that soldiers recovering from life-changing injuries had limited means of reconstructing the narrative of their transformative experiences. From the time of wounding through to secondary operations in the UK, many soldiers remained sedated or unconscious for a period of up to five days. The radical physical transformation that had occurred during this period was not adequately reconciled through medical notes, and the embargo on photographic documentation of incident and subsequent medical procedures served further to obscure this period of lost memory.

A culture of secrecy meant that medical professionals were unable to access documentation of the expanded care pathway with which they, and their colleagues, were engaged. This fragmentation of experience and understanding within the process of evacuation, treatment and rehabilitation meant that the assessment of the contradictions and disorientation experienced by casualties and medical practitioners was denied to front-line staff.

Family members, colleagues and members of the public outside the immediate environment of the military were unable to visualise or understand the transformative effects of conflict on directly affected civilians and soldiers. Partly as a result, the scope for public debate to engage meaningfully with the longer term societal cost of contemporary conflict was limited.

The submission goes on to list an impressive series of debriefings, presentations to military and medical professionals, major exhibitions, and follow-through research in Birmingham.


And it’s one of those follow-throughs that prompted me to think some more about corpographies.  I’d noted the connection between corpography and choreography in my original post, but David’s extraordinary collaboration with choreographer Rosie Kay and her dance company gives that a much sharper edge.  Again, there’s a comparison to be drawn – this time with Owen Sheers‘s impressively researched and executed body of work, not only the astonishing Pink Mist but also The Two Worlds of Charlie F (2012)which was a stage play based on the experiences of wounded soldiers who also made up the majority of the cast (see my discussion of these two projects here).

5 Soldiers started life as a stage presentation in 2010 (watch some extracts here):

A dance theatre work with 5 dancers, it looks at how the human body is essential to, and used in, warfare. 5 SOLDIERS explores the physical training that prepares you for war, as well as the possible effects on the body, and the injury caused by warfare.

Featuring Kay’s trademark intense physicality and athleticism, 5 SOLDIERS weaves a journey of physical transformation, helping us understand how soldiers are made and how war affects them.

5 SOLDIERS is a unique collaboration between award-winning choreographer Rosie Kay, visual artist David Cotterrell and theatre director Walter Meierjohann. It follows an intense period of research, where Rosie learnt battle training with The 4th Battalion The Rifles and David spent time in Helmand Province with the Joint Forces Medical Group.

Rosie explained her commitment to the project (and her training with The Rifles) like this:

“I wanted to look at how the physicality of a soldier’s job defines them –like a dancer, the soldier is drilled, trained, their responses becoming automatic, but can anything prepare you for the realities of war? It is young soldiers and their bodies that are the ultimate weapon in war – their strength and weaknesses may win or lose a battle, their ability to harm or injure others is key to victory. While war is surrounded with weaponry, uniforms, history and ceremony, the real business is human, dirty, messy, painful and happening right now.”

(She is, not coincidentally, an affiliate of the School of Anthropology at Oxford).

5 Soldiers installation PNG

And now there’s a film version that works as a multi-screen installation (screen shot above).

Instead of just creating a short film, the team wanted the web user to get a truly interactive way to watch dance, and actually feel that they can go inside the minds and the body of the work. The 80-minute work was cut to just 10 minutes long, and the company spent one week filming in a huge aircraft hangar at Coventry Airport…

Using a variety of cutting edge filming techniques, the collaborative team have created a 13 angle edit that takes you into the heart of the work, follows each of the dancers, and zooms out so that the performers appear to be like ants in a huge empty landscape.

You can see the interactive, multi-perspectival version here.  This relied on helmetcams, and there’s a fine, more general commentary on this in Kevin McSorley‘s ‘Helmetcams, militarized sensation and “somatic war”‘ here.  But here’s the short, ‘director’s cut’ version:

And look at the tag-line: ‘The body is the frontline’.  It’s not only drones that make it so.

Making sense of war

The irresistible Léopold Lambert managed to prompt me to re-work my thoughts on corpography (click on the Categories column on the right for more) for the second series of The Funambulist Papers: you can read the result here, and the printed vesion is en route.  I’m immensely grateful to Léopold for the invitation to take part, for his encouragement – and not least for his patience (all the more remarkable given his legendary capacity to answer any e-mail sent at any time within a single, terrifying minute….).

Regular readers will know that this short essay grows out of both Gabriel’s map: cartography and corpography in modern war and The natures of war, both of which are available under the DOWNLOADS tab.


My previous conversation with Léopold for his other (podcast) platform, Archipelago, is here.