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By casting a wider net on the definition of torture, the author promotes a radical, theoretical reframing of our concept of torture and suggests that audiovisual products can help broaden our comprehension of torture as an event which includes collective and emotional dimensions and long-term social effects.
Examines the ways in which moving images can help us better understand factual political tortureExamines role of images and film in (mis)understanding of tortureOffers synergised knowledge through comparative angle, exploring differences and continuities of torture cases which were documented to vastly different extentsIncludes key popular movies, independent films as well as serial televisionCombines serious film analysis with ethical-political questions and historically and theoretically informed researchExpands on the latest developments of comparative media scholarship, and integrates the nostalgic, material and affective "e;turn."e; Academic work on the subject of torture tends to mirror public debates on its presumed utility, to focus on its historically 'correct' representation or on profilmic structures of identification. This book moves beyond these ideologically charged questions to explore how contemporary films have responded to a growing popular distrust in visual evidence when referencing factual cases of torture. Two cases studies - the United States around 2004 and Chile from 1973 until the end of the dictatorship - provide either an abundance or lack of such visual evidence. Drawing on films and television series such as Zero Dark Thirty (2012), NO (2012), Homeland (2011-) and Los 80 (2008-14), amongst many others, this book analyses the visible components of torture but also its invisibilities. By casting a wider net on the definition of torture, the author promotes a radical, theoretical reframing of our concept of torture and suggests that audiovisual products can help broaden our comprehension of torture as an event which includes collective and emotional dimensions and long-term social effects.
Examines the ways in which moving images can help us better understand factual political torture Examines role of images and film in (mis)understanding of torture Offers synergised knowledge through comparative angle, exploring differences and continuities of torture cases which were documented to vastly different extents Includes key popular movies, independent films as well as serial television Combines serious film analysis with ethical-political questions and historically and theoretically informed research Expands on the latest developments of comparative media scholarship, and integrates the nostalgic, material and affective turn. Academic work on the subject of torture tends to mirror public debates on its presumed utility, to focus on its historically 'correct' representation or on profilmic structures of identification. This book moves beyond these ideologically charged questions to explore how contemporary films have responded to a growing popular distrust in visual evidence when referencing factual cases of torture. Two cases studies - the United States around 2004 and Chile from 1973 until the end of the dictatorship - provide either an abundance or lack of such visual evidence. Drawing on films and television series such as Zero Dark Thirty (2012), NO (2012), Homeland (2011-) and Los 80 (2008-14), amongst many others, this book analyses the visible components of torture but also its invisibilities. By casting a wider net on the definition of torture, the author promotes a radical, theoretical reframing of our concept of torture and suggests that audiovisual products can help broaden our comprehension of torture as an event which includes collective and emotional dimensions and long-term social effects.
Unanimously banned and condemned, torture has been used in many countries throughout the 20th century. Ruxandra Cesereanu’s essay aims to deepen this subject, showing the unimaginable dimensions that human cruelty can sometimes reach. The Armenian Genocide, the Nazi camps, the Gulag, the Military Juntas in Latin America, the totalitarian regimes in Africa and those in Islamic states are just a few examples of the tortures that man can inflict on his fellow men. From the description of the techniques, the motivations and the moments in which acts of savage violence take place to portraits of torturers and the victim, Ruxandra Cesereanu’s book gives us an overview of the phenomenon of torture, to refresh our collective memory.
Political Torture in Popular Culture argues that the literary, filmic, and popular cultural representation of political torture has been one of the defining dimensions of the torture debate that has taken place in the course of the post-9/11 global war on terrorism. The book argues that cultural representations provide a vital arena in which political meaning is generated, negotiated, and contested. Adams explores whether liberal democracies can ever legitimately perpetrate torture, contrasting assertions that torture can function as a legitimate counterterrorism measure with human rights-based arguments that torture is never morally permissible. He examines the philosophical foundations of pro- and anti-torture positions, looking at their manifestations in a range of literary, filmic and popular cultural texts, and assesses the material effects of these representations. Literary novels, televisual texts, films, and critical theoretical discourse are all covered, focusing on the ways that aesthetic and textual strategies are mobilised to create specific political effects. This book is the first sustained analysis of the torture debate and the role that cultural narratives and representations play within it. It will be of great use to scholars interested in the emerging canon of post-9/11 cultural texts about torture, as well as scholars and students working in politics, history, geography, human rights, international relations, and terrorism studies, literary studies, cultural studies, and film studies.
Unanimously banned and condemned, torture has been used in many countries throughout the 20th century. Ruxandra Cesereanu's book gives us an overview of the phenomenon of torture, to refresh our collective memory.
Why did it happen? Why did the United States begin to torture detainees during the War on Terror? Instead of an indictment, this book presents an explanation. Crises produce rare opportunities for overcoming the domestic and foreign policylogjams facing political leaders. But what if the projects used to address the crisis and provide cover for their domestic policy initiatives come under serious threat from clandestine opponents? Then the restraints on interrogation can be overwhelmed, leading to the creation ofinformal institutions that allow the official establishment of torture. These ideas are tested using comparative historical narratives drawn from two cases where torture was adopted - the War on Terror and the Stalinist Terror - and one where it was not - the Mexican War. The book concludes with some thoughts about how the United States can avoid the legal establishment of torture in the future.
The counterterrorism policies following September 11, 2001, brought the definition and legitimacy of torture to the forefront of political, military, and public debates. This timely volume explores the question of torture through multiple lenses by situating it within systems of belief, social networks of power, and ideological worldviews. Individual essays examine the boundaries of what is deemed legitimate political violence for the sake of state security, the immediate and long-term effects of torture on human and social bodies, the visual and artistic representations of torture, how certain people are dehumanized to make it acceptable to torture them, and how we understand complicity in and the ethical boundaries of torture.
This is the most comprehensive, and most comprehensively chilling, study of modern torture yet written. Darius Rejali, one of the world's leading experts on torture, takes the reader from the late nineteenth century to the aftermath of Abu Ghraib, from slavery and the electric chair to electrotorture in American inner cities, and from French and British colonial prison cells and the Spanish-American War to the fields of Vietnam, the wars of the Middle East, and the new democracies of Latin America and Europe. As Rejali traces the development and application of one torture technique after another in these settings, he reaches startling conclusions. As the twentieth century progressed, he argues, democracies not only tortured, but set the international pace for torture. Dictatorships may have tortured more, and more indiscriminately, but the United States, Britain, and France pioneered and exported techniques that have become the lingua franca of modern torture: methods that leave no marks. Under the watchful eyes of reporters and human rights activists, low-level authorities in the world's oldest democracies were the first to learn that to scar a victim was to advertise iniquity and invite scandal. Long before the CIA even existed, police and soldiers turned instead to "clean" techniques, such as torture by electricity, ice, water, noise, drugs, and stress positions. As democracy and human rights spread after World War II, so too did these methods. Rejali makes this troubling case in fluid, arresting prose and on the basis of unprecedented research--conducted in multiple languages and on several continents--begun years before most of us had ever heard of Osama bin Laden or Abu Ghraib. The author of a major study of Iranian torture, Rejali also tackles the controversial question of whether torture really works, answering the new apologists for torture point by point. A brave and disturbing book, this is the benchmark against which all future studies of modern torture will be measured.