International Politics and Film: Space, Vision, Power (Short Cuts)
Format: PDF / Kindle (mobi) / ePub
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.
some of this material. Of course, any flaws in the writing, argument or analysis rest with the authors. Sean Carter & Klaus Dodds April 2014 1 FILM AND INTERNATIONAL POLITICS In Syriana (2005), CIA agent Bob Barnes (George Clooney) is sent to the fictional Middle-Eastern state from which the film takes its title. A complex thriller is constructed around the murky world of inter-state relations, corporate greed and the everyday lives of those caught up in the attempts of more powerful
manner that hostilities were formally ending in Iraq. The aircraft carrier was actually stationed off the Pacific coast at the time but the intent was surely to use the generic conventions of the techno-thriller to create a particular visual aesthetic involving hyper-masculine agents, force projection, technological sophistication and a determination to prevail against enemies. While ridiculed at the time by his critics, the ‘event’ itself highlighted the role of creativity and visual practices
American self-understandings that emphasised the mobility of settlers and the importance of immigration to the making of the country but also in supporting the unilateral intervention into the homeland of others. Various forms of popular culture, including film, have shown that the term ‘homeland’ has a variety of connotations (perhaps most notably this has been shown in the recent US hit television series of that very name). While we have noted a geographical remit, it also conjures up a sense
geopolitical flux (including the fall of the Soviet Union), and ultimately violence. While the ending of the Cold War was greeted with acclaim, and accompanied by hope of a better and more peaceful era of international politics, Eastern Promises articulates a vision that is darker and more sinister – there is plenty of evidence of ongoing enmity between Russians, Turks and Chechens. In London, at least, the post-Cold War era offered some Eastern European immigrants the possibility of travel,
trailer for the anti-Muslim ‘film’ Innocence of Muslims appeared on YouTube). However, the relationship between film and international politics needs to be understood as more fundamental than one simply of film reflecting international politics. Rather, we have argued that the relationship is far more performative. Our particular perspective in this book has been to argue that international politics operates within and through a whole series of spatial imaginaries and formations – we have