Through the Looking Blast: Geopolitics and Visual Culture

Hughes, Rachel

doi:10.1111/j.1749-8198.2007.00052.x

Cited by 44 publications

(18 citation statements)

References 32 publications

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“…This opening up of what it means to dwell in the context of warfare reintroduces Rosler’s Bringing the War Home series which in 2004 was updated, mixing images of destruction from Iraq with scenes of US domesticity and consumer culture (see Hughes 2007 and Ingram 2011 on the intersections between visual practice and contemporary geopolitics). According to Meskimmon (2003, 56), Rosler’s work challenges ‘the sovereignty of western media to depict its “others” through simplified stereotypes designed to keep the war at a safe distance from its passive audience spectators’.…”

Section: Home and Modern Warfarementioning

confidence: 99%

Geopolitics of Home

Brickell¹

2012

Geography Compass

154

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This paper reviews both established and emerging literatures that problematize conceptual divisions (once) held between the public arena of geopolitics on the one hand, and the so‐called ‘private sphere’ of everyday life on the other. Tying into current concerns in critical and feminist geopolitics, I aim to understand how the home has been theorized and empirically researched as a material and ideological entity of geopolitical significance. The paper covers the themes of modern warfare; home(land) and nation; and the domestic worlds of ordinary, dissident and elite geopolitical actors. It argues that while a rich source of scholarship has coalesced around the influence of geopolitics on the home at different spatial scales, more research should explore how geopolitics is influenced by, and emerges from, the home. In exposing this inequitable, yet ultimately untenable binary division, the paper calls for geographers to ‘make space’ for home in geopolitics.

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Section: Home and Modern Warfarementioning

confidence: 99%

Geopolitics of Home

Brickell¹

2012

Geography Compass

154

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“…The relationship between the media and the military has been a vital source of interest for social scientists and theorists (see Graham, 2010;Gregory, 2010;Hughes, 2007). Virilio's (2002) concerns with the co-constitutive nature of war and media representations, Baudrillard's (1995) claim that the Gulf War was only a media event, Mirzoeff's (2005) contention that television coverage of warfare has become banal and normalised within the public consciousness, and Der Derian's (2009) insightful critique of what he terms the MilitaryeIndustrialeEntertainmenteComplex are four significant examples of such engagements.…”

Section: Popular Geopolitics and The Militarymentioning

confidence: 99%

Disrupting air power: Performativity and the unsettling of geopolitical frames through artworks

Williams

2014

Political Geography

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a b s t r a c tThis paper advances the concept of disruption, drawing upon Butler's (1993) work on performativity, her engagement with Goffman's (1974) frame analysis and recent work on performativity within critical geopolitics. It argues this approach provides a useful tool with which to elucidate gaps in the iterative processes of geopolitical discourse production that offer opportunities for momentary distortions to these dominant articulations of power. It analyses the utility of this approach through discussion of three artworks by the acclaimed British artist Fiona Banner. In June 2010 she unveiled her prestigious Duveens commission project at Tate Britain. The work, entitled 'Harrier and Jaguar', was the most ambitious of a series of engagements with military aircraft which have spanned over a decade of creative work. Banner's work has become synonymous with challenging dominant discourses on power and war especially through textual representations of war films and innovative uses of military aircraft. Beginning with her book project, 'All the world's fighter planes' (2004) and moving through her Duveens project to the military aircraft-related work 'Tornado' (2010), this paper argues that Banner's work illustrates the utility of the concept of disruption; going beyond simply raising questions about our engagements with military aircraft, to actively disrupting our encounters with and understandings of these objects and thus popular representations of air power.

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“…The United States used film similarly; Ó Tuathail examines the Third Reich in wartime American cinema, focusing on the sensationalised representation of the political geographers Karl and Albrecht Haushofer and their association with the Nazi regime, despite the gulf between their theories and Nazi war strategy in practice (Ó Tuathail, , p. 115). Beyond the World Wars, the United States used cinema to “reinvent itself as a benevolent defender of ‘freedom’ and ‘democracy’ worldwide” (Hughes, , p. 986, citing Power & Crampton, , p. 195). Sharp argues that post‐Cold War American film aims to identify a new post‐Soviet antagonist to perpetuate American masculinity, nationalism, and geographies of danger beyond the Cold War (Sharp, , pp.…”

Section: Historicising the Text: Representational Approachesmentioning

confidence: 99%

Historicising popular geopolitics

Harby

2018

Geography Compass

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Critical geopolitics has long recognised the role of history in geopolitics, yet popular geopolitics research is often ahistorical, focusing on ongoing conflicts without recognising the context of past wars and ideologies. In this paper, I review the literature on historical popular geopolitics. I use the literary technique of new historicism to evaluate the ways in which geographers have historicised popular geopolitics, in terms of their ideological contexts and influences on the present. Much of this work deals with various forms of media such as films and comic books, often read as products of their time or of their authors' ideologies. Some geographers, however, have been able to combine historicism with non‐representational methodologies to study embodiment, practices of consumption, and affect. I reflect that historicism is vital for understanding the continuity of geopolitics.

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Through the Looking Blast: Geopolitics and Visual Culture

Cited by 44 publications

References 32 publications

Geopolitics of Home

Geopolitics of Home

Disrupting air power: Performativity and the unsettling of geopolitical frames through artworks

Historicising popular geopolitics

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