Literary and Filmic Representations of Political Torture from Algiers to Guantánamo

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Literary and Filmic Representations of Political Torture from Algiers to Guantánamo “WHAT CAN BE INFINITELY DESTROYED IS WHAT CAN INFINITELY SURVIVE”: LITERARY AND FILMIC REPRESENTATIONS OF POLITICAL TORTURE FROM ALGIERS TO GUANTÁNAMO ALEX ADAMS Submitted for the Degree of Doctor of Philosophy School of English Literature, Language and Linguistics January 2014 ABSTRACT This thesis takes the post-9/11 Anglo-American torture debate as the territory for its analysis of the multiple and overlapping ways that cultural representations are implicated in political discourses regarding the practice of political torture by Western liberal democracies in the twenty-first century. Firstly, it makes the historical-political claim that the post-9/11 torture debate reveals the continuing existence and influence not only of colonial discourses and representations but of colonial political constellations and colonial forms of violence. Drawing on Giorgio Agamben’s work on the state of exception, I argue that despite claims of the newness of the post-Cold War geopolitical paradigm, political torture in the twenty-first century takes familiar concentrationary and disciplinary forms. Further, specific colonial discourses continue to frame contemporary debates about political torture; using the Algerian War of Independence as a lens, the thesis demonstrates this continuity through original readings of The Centurions (1960), The Battle of Algiers (1966), and The Little Soldier (1960/63). The dominant way that torture has been discussed in the context of the post-9/11 Global War on Terrorism is in terms that justify or normalise it. This thesis reads the revitalisation of colonial discourses in the second series of 24 (2002-3) as evidence of this. Further, it argues that anti-torture human rights texts such as Rendition (2007) have provided inadequate resistance to justificatory discourse. Nonetheless, narratives that successfully oppose political torture are possible, and this thesis sketches the beginnings of a canon of them: drawing on the phenomenological ethics of Emmanuel Levinas to perform readings of representations of Abu Ghraib – Standard Operating Procedure (2008) – and Guantánamo Bay – The Road to Guantánamo (2006), Guantánamo: Honor Bound to Defend Freedom (2004) and Guantánamo (2004) – the project explores the ways that ethical address, testimony, and an activist focus on facts can produce meaningfully resistant anti-torture narratives. i CONTENTS List of Figures vi Acknowledgements viii Introduction 1 I: Claims 1 II: Chapter Overview and Summary 9 Chapter One Definitions, Trajectories, Ethics 23 1.1: Definitions and Positions 23 1.1.1: Torture 23 1.1.2: Why Torture is Wrong 30 1.1.2.1: Deontology 30 1.1.2.2: Utilitarianism 33 1.1.2.3: The Ticking Bomb Scenario 34 1.2: Trajectories: Reading Time 40 1.2.1: Translatable Histories I: Palimpsestic Multidirectionality 40 1.2.2: Translatable Histories II: Counterrevolutionary War Theory and the Recommendation of Atrocity 45 1.3: Ethics and Representation 51 1.3.1: Aporias 51 1.3.2: Solutions 54 1.3.2.1: The Face and Representation 56 Conclusions 58 Chapter Two Camp, Colony, Counterterrorism 59 2.1: Spatiality: The Camp, the Colony, and Disciplinary Biopolitics 61 2.1.1: The Thanatopolitical Space 62 ii 2.1.2: The Necropolitics of Colonial Extraterritoriality 67 2.1.3: War Prisons and Secret Violence 69 2.2: The Law: Guantánamo as the Legal-Biopolitical Paradigm of the Global War on Terrorism 71 2.2.1: The Ban and the Withdrawal of Law 72 2.2.2: Governmentality: Sovereign Power and its Diffusion 77 2.3: Bare Life: Muselmänner and Muslims 82 2.3.1: On the Bottom 83 2.3.2: (Neo)Colonial Cultural Racialisations 87 Conclusions 93 Chapter Three The Algerian War of Independence, 1954-1962 Torture in the European Literature and Film of Algerian Decolonisation 94 3.1: Another Indochina: The Centurions (1960) and Lost Command (1966) 96 3.1.1: The Centurions 96 3.1.1.1: The Enemy; Sovereignty in the Camp 97 3.1.1.2: Torture 100 3.1.1.3: Circulation, Legitimacy, and the Field of Intelligibility 102 3.1.2: Lost Command 104 3.1.2.1: Genre and Historical Translatability 104 3.1.2.2: Muslims-as-Indians 107 3.2: War in the Casbah: The Battle of Algiers (1966) 112 3.2.1: Divine Violence and a Gigantomachy Concerning Exceptionality 113 3.2.2: Between Ethics and Expediency 119 3.3: The Battle of Geneva: The Little Soldier (1960) 124 3.3.1: Torture 124 3.3.2: Masculinity and Martyrdom 128 iii 3.3.3: Reality; Suppression/Circulation 131 Conclusions 134 Chapter Four The Global War on Terrorism, Part I The Ticking Bomb, Extraordinary Rendition, and Abu Ghraib 135 4.1: The Post-9/11 Centurion: 24 Day Two (2002-3) 136 4.1.1: The Exception 137 4.1.2: Torture 140 4.1.3: Islam and the Mosque as a Source of Terrorism 145 4.1.4: Realism: Reality Effects and a Regime of Veridiction 148 4.2: Towards a Political Cinema of Torture: Rendition (2007) 151 4.2.1: Critique; the False Positive Narrative 153 4.2.2: Torture 155 4.2.3: Reservations 158 4.3: “Like One of Those Hitler Things Almost”: Standard Operating Procedure (2008) 165 4.3.1: Framing and Exceptionality 165 4.3.2: Eichmann in Abu Ghraib? 172 4.3.3: Visual Polyphony 177 Conclusions 183 Chapter Five The Global War on Terrorism, Part II Guantánamo Bay in the European Literary and Cultural Imagination 184 5.1: Staging the Exception: Guantánamo: ‘Honor Bound to Defend Freedom’ (2004) 186 5.1.1: Form and Rehumanisation 187 5.1.2: Islam, Biopolitics, Torture 194 5.1.3: Reception/Reservations 198 5.2: Four Boys From Birmingham: The Road to Guantánamo (2006) 199 iv 5.2.1: Form, Rehumanisation, Frontality 199 5.2.2: Torture, the Concentrationary, and the Field of Intelligibility 202 5.3: The Orange in the Lager: Guantánamo (2004) 208 5.3.1: Torture 211 5.3.2: Guantánamo as Camp 214 Conclusions 220 Conclusion 221 Further Research 222 Bibliography 224 Filmography 255 v LIST OF FIGURES Figure 1.1: Trinquier’s Organigramme describing the cellular structure of the ALN 50 Figure 1.2: Organisational hierarchy of a terrorist cell as described by a twenty-first century counterterrorism analyst 50 Figure 3.1: Apache Indian ambush in Fort Apache I 109 Figure 3.2: Lost Command frame comparison I 109 Figure 3.3: Apache Indian ambush in Fort Apache II 110 Figure 3.4: Lost Command frame comparison II 110 Figure 3.5: Apache Indian ambush in Fort Apache III 111 Figure 3.6: Lost Command frame comparison III 111 Figure 3.7: Colonel Mathieu explains the cellular structure of the FLN 118 Figure 3.8: Torture victim forced to collude against the FLN 120 Figure 3.9: An unnamed paratrooper fills in an Organigramme with information acquired through torture 121 Figure 3.10: Bruno meets the gaze of the camera during torture 127 Figure 4.1: 24. Clockwise from top left: CTU agents search the mosque where a terrorist is apprehended; Sayed Ali is tortured by Jack Bauer; the Secretary of Defense is tortured by a CIA operative on Presidential command; Kim Bauer runs from her abductors. 149 Figures 4.2-4.5: Water suffocation in Rendition 157 vi Figure 4.6: North Africa as Arab-Land 159 Figure 4.7: Muslim rage 160 Figure 4.8: Abu Ghraib 170 Figure 4.9: Frontality: Janis Karpinski 176 Figure 4.10: Frontality: Lynndie England 177 Figure 4.11: Nozzle 180 Figure 4.12: Water suffocation 181 Figure 5.1: Frontality: Shafiq Rasul 202 Figure 5.2: Archive image of Guantánamo Bay taken from The Road to Guantánamo 208 vii ACKNOWLEDGEMENTS Firstly, I would like to thank the Arts and Humanities Research Council, whose financial support for the first three years of this project made it possible. I would like to extend sincere gratitude to my supervisors, Dr Neelam Srivastava and Dr Anne Whitehead, for their guidance, feedback, input, direction, friendship, and patience. I would also like to thank Dr Stacy Gillis, whose advice, support, and generosity in the initial stages of this project was invaluable. I thank my examiners, Dr James Procter and Dr Stephen Morton, for their perceptive, thorough, and rigorous attention to my work. I thank the employers who kept me fed during my fourth year, whose flexibility and forbearance I heartily appreciate: Alicia Cresswell at Newcastle University Robinson Library Writing Development Centre, Rosie Snowdon at Northumbria University Educational Support Worker Service, and Graham Frost at Tilleys Bar. I would also like to acknowledge the opportunities for teaching given to me throughout my time as a postgraduate by Newcastle University’s School of English Literature, Language, and Linguistics, both on undergraduate modules and as part of the Partners Assessed Summer School. I also thank SELLL for the Research Support Grant that helped keep me afloat during my fourth year. Sincere gratitude is due to the people and institutions who have given me opportunities to present my research at conferences and workshops both in this country and abroad. The questions, feedback and encouragement I received at these events were integral to the successful completion of this work. I thank Dr Arin Keeble, organiser of The Depoliticisation of 9/11 at Newcastle University; I thank Professor Kim Reynolds and Professor Matthew Grenby for inviting me to speak for Newcastle University’s Children’s Literature Unit Graduate Group; I thank Dr Katherine Cooper and WAR-Net, organisers of War and Gender at Newcastle University; I thank interdisciplinary.net, organisers of Experiencing Prison, and in addition I gratefully acknowledge the AHRC Conference Attendance Research Support Fund for making this trip to Warsaw possible; I thank Avril Buchanan, Carmel Murphy, and the organising committee
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