2006
DOI: 10.1017/cbo9780511607356
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Culture, Crisis and America's War on Terror

Abstract: Since the infamous events of 9/11, the fear of terrorism and the determination to strike back against it has become a topic of enormous public debate. The 'war on terror' discourse has developed not only through American politics but via other channels including the media, the church, music, novels, films and television, and therefore permeates many aspects of American life. Stuart Croft suggests that the process of this production of knowledge has created a very particular form of common sense which shapes re… Show more

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Cited by 212 publications
(97 citation statements)
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“…thereby legitimately entitled to benefit from the provisions of universal human rights, have produced classes of subjects who are ethically deemed less than human: lives that are unliveable and deaths that are ungrievable. Richard Jackson (2005) and Stuart Croft (2006) have both discussed the ways in which the "war on terror" discourse has produced a spatially polarised world in which particular states and individuals are constituted as "other" and thereby the legitimate objects of various kinds of violent force and disciplinary power.…”
Section: Prefacementioning
confidence: 99%
“…thereby legitimately entitled to benefit from the provisions of universal human rights, have produced classes of subjects who are ethically deemed less than human: lives that are unliveable and deaths that are ungrievable. Richard Jackson (2005) and Stuart Croft (2006) have both discussed the ways in which the "war on terror" discourse has produced a spatially polarised world in which particular states and individuals are constituted as "other" and thereby the legitimate objects of various kinds of violent force and disciplinary power.…”
Section: Prefacementioning
confidence: 99%
“…The Bush Administration adeptly incorporated these experiences within official constructions such that Americans became affectively invested within them. Moreover, these constructions accounted for affective experiences and plugged back into the broader cultural context thus facilitating its embeddedness within American society (Croft, 2006;Jackson, 2005). By accounting for affect and plugging into the cultural context, the war on terror discourse produced a resonant official construction of 9/11, with which it was difficult to argue (Krebs and Lobasz, 2007).…”
Section: The Politics Of Affect: Resonance and Affective Investmentmentioning
confidence: 99%
“…First, the ontological shift from terrorism to ÔterrorismÕ opens space for the entrance of new materials, methodologies and questions into terrorism research. Media reportage (Spencer 2010), political speech (Jackson 2005), video games (Power 2007;Sisler 2008), films (Riegler 2010), body art (Croft 2006) and memorial websites (Jarvis 2010(Jarvis , 2011) all now enter this fieldÕs remit. In the process, they contribute to a far more detailed understanding of terrorismÕs percolation through sites and practices of social, political, and everyday life.…”
Section: Terrorism Time and Memorymentioning
confidence: 99%