Frontmatter

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Book Series Information

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Title Page

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Copyright Page

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Dedication Page

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Contents

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List of Illustrations

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pp. ix-x

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Acknowledgments

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pp. xi-xii

For generous funding of this project I thank Wayne State University for the Research Enhancement Awards in the Arts and the Career Development Chair; Walter Edwards and the Humanities Center; the University Faculty Fellowship and the Dean’s Creative/ Research Award. I also thank my...

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Introduction

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pp. 1-14

In modern warfare and the accompanying culture of war that capitalism produces as a permanent feature of modern society, the contest of images is as critical as the war on the ground. We might say that the contest of images is the continuation of war by other means, affecting not only our...

Part I. The Romance of War

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p. 15

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1. Technologies of War, Media, and Dissent in the Post-9/11 Work of Krzysztof Wodiczko

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pp. 17-46

In the U.S. war on Iraq and the elusive, euphemistic “global war on terrorism” manufactured in response to the events of September 11, video and surveillance have been used in radically diverse ways, eroding the line between public and private in the service of state control, political recruitment...

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2. Historical Reenactment: Romantic Amnesia or Counter-Memory?

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pp. 47-76

War reenactors and “living history” groups (who perform for the public only while reenactors perform both publicly and privately) have grown from a small phenomenon when reenacting began to a startling array of contemporary groups and events. In the United States alone, war...

Part II. The Body of War

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p. 77

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3. Abu Ghraib, Gender, and the Military

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pp. 79-111

The Abu Ghraib photographs join a genealogy of iconic war images despite the ever greater state efforts to control and contain images of war, an effort that fails in inverse proportion to the growth and availability of digital technology. After U.S. government censorship of photographs from World War II and Korea, photos...

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4. The Body as Political Corpus

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pp. 112-147

In response to the revelations of torture and their justification in recently declassified CIA documents, Guatemalan artist Regina José Galindo enacts and externalizes bare life as constitutive of the new political body by submitting her own body to an act of torture. For...

Part III. The Landscape of War

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p. 149

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5. Controlling the Frame: Photojournalism, Digital Technology, and "Modern Warfare"

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pp. 151-182

I have been defining the public sphere as “the spaces, sites, and technologies available for public discourse that is critical of the state,” in Peter van der Veer’s terms, but with a focus on its constitution through documentary practices of visual representation that call into place a shared way of...

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6. Israel/Palestine and the Political Imaginary

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pp. 183-231

The technologies of video and surveillance fundamental to “homeland security” and the “war on terror,” the pursuit of perpetual war on the domestic front, and the ensuing collapse of public and private space are all nowhere more deeply entrenched than Israel/Palestine. At the same...

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Conclusion: On Human Rights

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pp. 232-238

While images are easily framed to serve the interests of the state, contemporary documentary images are also used to construct counterhegemonic narratives and to call into place public spheres, based on shared ways of seeing, that are critical of and outside the control of the state. In...

Notes

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pp. 239-254

Selected Bibliography

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pp. 255-259

Index

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pp. 261-273

About the Author

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