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Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat
15 Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat No one could accuse the American cultural industries of giving the Iraq War the silent treatment. Between the 24-hour news cycle and fictionalized enter- tainment, war narratives have played a significant and evolving role in the media landscape since the declaration of war in 2003. Iraq War films, on the whole, have failed to impress audiences and critics, with notable exceptions like Kathryn Bigelow’s The Hurt Locker (2008), which won the Oscar for Best Picture, and her follow-up Zero Dark Thirty (2012), which tripled its budget in worldwide box office intake.1 Television, however, has fared better as a vehicle for profitable, war-inspired entertainment, which is perhaps best exemplified by the nine seasons of Fox’s 24 (2001–2010). Situated squarely between these two formats lies the television miniseries, combining seriality with the closed narrative of feature filmmaking to bring to the small screen— and, probably more significantly, to the DVD market—a time-limited story that cultivates a broader and deeper narrative development than a single film, yet maintains a coherent thematic and creative agenda. As a pioneer in both the miniseries format and the more nebulous category of quality television, HBO has taken fresh approaches to representing combat as it unfolds in the twenty-first century.2 These innovations build on yet also depart from the precedent set by Band of Brothers (2001), Steven Spielberg’s WWII project that established HBO’s interest in war-themed miniseries, and the subsequent companion project, The Pacific (2010).3 Stylistically, both Band of Brothers and The Pacific depict WWII combat in ways that recall Spielberg’s blockbuster Saving Private Ryan (1998). -
Rules of Engagement: Performance and Identity in the War on Terror
RULES OF ENGAGEMENT: PERFORMANCE AND IDENTITY IN THE WAR ON TERROR A Thesis by EMILY JO PIEPENBRINK Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2012 Major Subject: Performance Studies Rules of Engagement: Performance and Identity in the War on Terror Copyright 2012 Emily Jo Piepenbrink RULES OF ENGAGEMENT: PERFORMANCE AND IDENTITY IN THE WAR ON TERROR A Thesis by EMILY JO PIEPENBRINK Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Kirsten Pullen Committee Members, Judith Hamera Joseph G. Dawson Head of Department, Judith Hamera May 2012 Major Subject: Performance Studies iii ABSTRACT Rules of Engagement: Performance and Identity in the War on Terror. (May 2012) Emily Jo Piepenbrink, B.A., Texas A&M University Chair of Advisory Committee: Dr. Kirsten Pullen War and war-fighters have become immortalized through performance; generations of service-men and women are defined by actions on the battlefield artfully altered on stage and screen. This reciprocal relationship, whether war-fighters intentionally participate or not, has imbued the entertainment industry with the power to characterize war-fighters in lasting ways. Performance enters the military in other ways as well: war-fighters reenact moments from war films; combat training takes on theatrical tactics and rhetoric; war-fighters of the War on Terror record and stage their own war performances. We accept that current war performances will inevitably affect the perception and reputation of war-fighters, not only for the duration of the war but for decades afterward, but do we fully understand the cost of the relationship between today’s war-fighters and performance’s role in the military? In this MA thesis, based on ethnographic fieldwork with veterans of the War on Terror, I explore the intersection between war-fighters, war, and performance. -
Generation Kill (HBO, 2008)
TV/Series 9 | 2016 Guerres en séries (I) Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008) Monica Michlin Electronic version URL: https://journals.openedition.org/tvseries/1293 DOI: 10.4000/tvseries.1293 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Monica Michlin, “Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008)”, TV/Series [Online], 9 | 2016, Online since 01 June 2016, connection on 21 September 2021. URL: http://journals.openedition.org/tvseries/1293 ; DOI: https://doi.org/10.4000/ tvseries.1293 This text was automatically generated on 21 September 2021. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguit... 1 Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008) Monica Michlin 1 The HBO mini-series Generation Kill (2008) is a faithful adaptation of most of the events narrated in Evan Wright’s eponymous, embedded “invasion diary” published in 2004. In doing away with the journalist’s first-person voice by shunning voice-over narrative, the series squarely shifts its focus to the grunts, replicating the point of view of most combat films on Iraq – in particular Kathryn Bigelow’s The Hurt Locker released that same year. It also mirrors the perspective of (earlier) embedded documentaries like Tucker and Epperlein’s Gunner Palace (2004), Ian Olds and Garrett Scott’s Occupation: Dreamland (2005) or Deborah Scranton’s The War Tapes (2006). -
My War: Killing Time in Iraq Colby Buzzell. New York: Penguin Putnam, 2005
My War: Killing Time in Iraq Colby Buzzell. New York: Penguin Putnam, 2005. 336 pp. $25.95 hardcover. Reviewed by Matthew Hill, University of Maryland, College Park Since the Great War, the memoir has become one of the most prominent genres in the literature of modern warfare. Non-fictional remembrances of the gruesome realities and cultural upheaval caused by war such as Edmund Blunden’s Undertones of War, Siegfried Sassoon’s Memoirs of a Fox-Hunting Man, and Robert Graves’ Good-Bye To All That were, as Paul Fussell points out in The Great War and Modern Memory, at the center of literary production on the war, revealing the horrors of combat to a largely ignorant reading public. Memoirs, in this sense, serve often as “secret histories” of conflicts, offering a counterpoint to sterilized, politicized, “official” representations of warfare, representations often awash in terms such as “glory” and “honor” and “patriotism.” Michael Herr’s memoir of his experiences as a journalist during the American war in Viet Nam, Dispatches, seeks self-consciously to write a counter narrative of the conflict, penetrating the rigid constructs of the “straight” history put forth by politicians, generals, even mapmakers. He writes in the book’s opening pages of an old French map hanging on the wall of his Saigon apartment: If dead ground could come back and haunt you the way dead people do, they’d have been able to mark my map CURRENT and burn the ones they’d been using since ‘64, but count on it, nothing like that was going to happen. -
Eisenhower and Ballistic Missile Defense: the Formative Years, 1944-1962 Donald R
WINTER 2004 - Volume 51, Number 4 Eisenhower and Ballistic Missile Defense: The Formative Years, 1944-1962 Donald R. Baucom 4 Lt. Gen. Forrest S. McCartney:The First Space Professional David C. Arnold 18 From the Shadows to the Stars: James Webb’s Use of Intelligence Data in the Race to the Moon Dwayne A. Day 30 Unwanted Allies: What Influences Negative Domestic Reactions to Deploying Forces into Allied States? Sean Atkins 40 For the Record: Rob Bardua 52 Book Reviews 54 Baghdad or Bust: The Inside Story of Gulf War 2 by Mike Ryan. & Dark Victory: America's Second War against Iraq. by Jeffrey Record. Reviewed by Curtis H. O'Sullivan 54 Heroes Never Die: Warriors and Warfare in World War II by Martin Blumenson Reviewed by Jim Gates 54 The Two O’Clock War: The 1973 Yom Kippur Conflict and the Airlift that Saved Israel by Walter J. Boyne Reviewed by Sam McGowan 54 In the Company of Soldiers: A Chronicle of Combat by Rick Atkinson & Generation Kill: Devil Dogs, Iceman, Captain America and the New Face of American War by Evan Wright Reviewed by Henry Zeybel 55 Combat Legend: The F–117 Nighthawk by Paul Crickmore Reviewed by Kenneth G. Holliday 56 The Battle of Britain in Victory and Defeat: The Achievements of Air Chief Marshal Dowding and the Scandal of his Dismissal from Office by J. E. G. Dixon Reviewed by Robin Higham 56 Armed Servants: Agency, Oversight, and Civil-Military Relations by Peter D. Feaver Reviewed by Stéphane Lefebvre 57 Pappy Gunn by Nathaniel Gunn Reviewed by Sam McGowan 57 American Soldiers: Ground Combat in the World Wars, Korea, and Vietnam by Peter S. -
1 Capturing Iraq: Optical Focalization in Contemporary War
1 Capturing Iraq: Optical Focalization in Contemporary War Cinematography Rachel Fox, July 2018 Abstract This article investigates different registers of embedded and fragmentary focalizations in war cinematography on the Iraq War (2003-2011), focusing primarily on The Hurt Locker (2008) and the HBO mini-series Generation Kill (2008), but also addressing American Sniper (2014) and the Abu Ghraib scandal. I argue that the “extreme close up,” that focuses almost unilaterally on the men on the ground during the Iraq War, implicates a “bigger picture”: a larger frame of discourse put forward by the corporate media and the government. This is primarily achieved through recursive narrative structures and through the use of diegetic ocular apparatuses, which are embedded onscreen. These renditions of mise en abyme implicate, re-negotiate, and even argue with the wide-angle perspective which frames the Iraq War. Keywords Iraq War, fragmentary focalization, mise en abyme, The Hurt Locker, Generation Kill This article considers cinematographic representations of the Iraq War (2003 – 2011), focusing primarily on Kathryn Bigelow’s The Hurt Locker (2008) and the HBO mini-series Generation Kill (2008), which is adapted from Evan Wright’s ethnographic book of the same name, alongside Clint Eastwood’s American Sniper (2014) and the Abu Ghraib scandal. These cinematographic representations of war are often composed out of a series of “extreme close-ups,” or what I will call “fragmentary focalizations.” Engaging which the rhetorical device of focalization as it is represented onscreen—and the bodies that are visually 2 captured—I argue that these instances of “extreme close-up” are, in fact, drawn into a “bigger picture,” and are implicitly political, fitting within larger frames of discourse, which are put forward by the media and the government.