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Observing the International OBSERVING THE INTERNATIONAL: GOVERNMENTALITY OF GEOPOLITICS, VISUAL CULTURE AND THE SOCIAL LOGISTICS OF WAR MAKING M. Evren EKEN PhD Thesis Royal Holloway, University of London April 2018 Declaration of Authorship The title page should be followed by a signed declaration that the work presented in the thesis is the candidate’s own. Please note that there is no set wording for this but an example is provided below: Declaration of Authorship I ……………………. (please insert name) hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ Abstract: It is common in International Relations to read that “war made states and states made war”. Despite a growing literature on the relationship between visual culture and geopolitics, there is a gap around the manner in which war-making ability of states is dependent upon the population and the conduct of geopolitical subjects. This doctoral thesis interrogates the ways in which the mainstream US visual culture structures the possible field of geopolitical actions and imaginations of the population during the Global War on Terror (GWoT) to understand and explain why this gap matters. It analyses how visual culture encapsulates the population as an affective interpretative repertoire and is conducive to the war-making ability of the US. The project contributes to academic literatures on `Governmentality Studies`, `Critical Geopolitics`, `Critical Military Studies`, `Visual Culture ` and `the Sociology of the State` and offers a framework for making sense of the relationship between visual culture, war-making and governmentality. To do so, a new methodological approach, procedural rhetorical analysis is developed to empirically document the ways in which geopolitical subjectivities are produced through visual culture. Following theoretical discussions, there are three case studies, each focusing on a different visual cultural platform to analyse the patterns recurring in these platforms: documentaries; films; and first person shooter video games. Overall, the thesis argues for the significance of visual culture in sustaining the social logistics of war making ability of the population during the GWoT. Table of Contents ACKNOWLEDGEMENTS ......................................................................................................................... I 1. INTRODUCTION ............................................................................................................................... 1 1.1. INTRODUCTION ..................................................................................................................................... 1 1.2. THEORETICAL AND METHODOLOGICAL AIMS ...................................................................................... 4 1.3. THE WAR OF THE PEOPLE, BY THE PEOPLE, FOR THE PEOPLE ............................................................ 8 1.4. THE CONUNDRUM: A RATIONAL ARMY WOULD RUN AWAY? ........................................................... 12 1.5. THE GAP: THE SUBJECT IN POPULAR GEOPOLITICS .......................................................................... 17 1.6. STUDYING THE CONVERGENCE OF VISUAL CULTURE, WAR AND THE SUBJECT ................................ 22 1.6.1. Methodological Opportunities ................................................................................................ 24 1.6.2. Theoretical Opportunities ....................................................................................................... 28 1.6.3. Limitations ................................................................................................................................ 29 1.7. THE THREE CASES .............................................................................................................................. 31 1.8. OUTLINE OF THE THESIS .................................................................................................................... 34 2. CHARTING THE FIELD ................................................................................................................ 35 2.1. CRITICAL GEOPOLITICS & VISUAL CULTURE ...................................................................................... 35 2.2. POPULAR GEOPOLITICS & THE SUBJECT ............................................................................................ 40 2.3. CRITICAL MILITARY STUDIES & AGENCY ........................................................................................... 43 2.4. MIME-NET, MILITAINMENT & THE SUBJECT .................................................................................. 44 2.4.1. MIME-NET & Mimetic War .................................................................................................... 44 2.4.2. Militainment and the Subject ................................................................................................. 45 2.4.3. Military Training & Automatization of Military Subjects ................................................... 46 2.5. GOVERNMENTALITY & TECHNOLOGIES OF THE SELF ........................................................................ 50 2.6. FOUCAULT & VISUAL CULTURE .......................................................................................................... 52 2.7. AUDIENCE, AFFECTS AND EMOTIONS ................................................................................................. 54 2.8. MYTHS, METAPHORS AND LAY THEORIES ......................................................................................... 56 2.9. UMBERTO ECO & “THE READER IN THE STORY” ................................................................................ 58 2.10. CONCLUSION ....................................................................................................................................... 60 3. VISUAL DRILLS, NARRATIVE INFRASTRUCTURES AND THE GWOT ....................... 62 3.1. VISUAL CONFINEMENT ....................................................................................................................... 63 3.2. NARRATIVE INFRASTRUCTURE AND SOCIAL LOGISTICS ..................................................................... 67 3.3. MONOPOLISATION OF REALITY .......................................................................................................... 69 3.4. VISUAL TECHNOLOGIES OF THE GEOPOLITICAL SELF ........................................................................ 74 i 4. RESEARCHING EVERYDAY SUBJECTIVITIES, VISUAL PRACTICES AND THE GWOT ................................................................................................................................................. 79 4.1. INTRODUCTION ................................................................................................................................... 79 4.2. DISCLOSURE OF RESEARCHER`S IDENTITY ........................................................................................ 81 4.3. HORIZONTALITY.................................................................................................................................. 84 4.4. PROCEDURAL RHETORIC AND GOVERNMENTALITY ........................................................................... 86 4.5. AFFECT, VISUALITY AND GOVERNMENTALITY .................................................................................... 88 4.6. AUTOETHNOGRAPHY........................................................................................................................... 92 4.7. METHODS: DATA GATHERING ............................................................................................................ 94 5. DOCUMENTARIES: THESE ARE THE TRUE STORIES .................................................... 101 5.1. RESTREPO ......................................................................................................................................... 103 5.1.1. Introduction ............................................................................................................................ 103 5.1.2. Production, Politics and Paratext ......................................................................................... 104 5.1.3. Initiation, Immersion, and Diegetization ............................................................................ 107 5.1.4. Recurrent Themes & Visuals ................................................................................................. 108 5.1.5. The Un-Scene Affects: ............................................................................................................ 111 5.1.6. The Sequence of Events/Post hoc fallacies: ........................................................................ 112 5.1.7. Conclusion ............................................................................................................................... 113 5.2. TAKING FIRE: HERO FLIGHT ............................................................................................................ 115 5.2.1. Introduction ............................................................................................................................ 115 5.2.2. Production, Politics and Paratext ......................................................................................... 116 5.2.3. Initiation, Immersion, and Diegetization ............................................................................ 117 5.2.4. Recurrent
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