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Discourses of Legitimation : = Representation, Recognition, and Truth in Post-9/11 American War Films.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Discourses of Legitimation :/
Reminder of title:	Representation, Recognition, and Truth in Post-9/11 American War Films.
Author:	Foster, Grace A.
Description:	1 online resource (89 pages)
Notes:	Source: Masters Abstracts International, Volume: 56-04.
Contained By:	Masters Abstracts International56-04(E).
Subject:	Film studies. -
Online resource:	click for full text (PQDT)
ISBN:	9781369722086

Discourses of Legitimation : = Representation, Recognition, and Truth in Post-9/11 American War Films.
Foster, Grace A.

Discourses of Legitimation :Representation, Recognition, and Truth in Post-9/11 American War Films. - 1 online resource (89 pages)

Source: Masters Abstracts International, Volume: 56-04.

Thesis (M.A.)--Georgetown University, 2017.

Includes bibliographical references

This thesis examines the role recent feature war films have played in the American cultural consciousness about the War on Terror by interrogating how they formally affirm or challenge dominant narratives about those events. In the aftermath of September 11, 2001, the relationship between the government, the news media, and the public was complex and unstable. Over fifteen years later, that complexity and instability has only intensified with the proliferation of blogs, podcasts, click bait, and fake news. Chapter One focuses on Zero Dark Thirty (2012) which insisted on its own inclusion in the intricate web of reporting about the events it represents: director Kathryn Bigelow and screenwriter/producer Mark Boal call it a "reported film," and the film's formal techniques mimic this claim. This chapter uses film studies, journalism studies, comparative media studies, and cultural studies to examine Zero Dark Thirty in this context. Chapter Two examines the formal moves that two feature films about drones---Good Kill (Andrew Niccol, 2014) and Eye in the Sky (Gavin Hood, 2016)---make to affirm and challenge dominant narratives about drone warfare, respectively. Though these two films are ideologically opposed, they use the same symbolic economy of helpless female bodies to comment on the moral and bodily stakes of drone warfare. They also use the same formal techniques to different effects, the first emphasizing the depersonalization of drone warfare, and the second emphasizing the intimacy of drone warfare. Together, these chapters interrogate the ways in which contemporary war films have framed the War on Terror and the ways in which those frames---cinema and the armed drone---shape viewers' perception of the Muslim subject.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781369722086Subjects--Topical Terms:

1179264
Film studies.
Index Terms--Genre/Form:

554714
Electronic books.

Discourses of Legitimation : = Representation, Recognition, and Truth in Post-9/11 American War Films.
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520 $a This thesis examines the role recent feature war films have played in the American cultural consciousness about the War on Terror by interrogating how they formally affirm or challenge dominant narratives about those events. In the aftermath of September 11, 2001, the relationship between the government, the news media, and the public was complex and unstable. Over fifteen years later, that complexity and instability has only intensified with the proliferation of blogs, podcasts, click bait, and fake news. Chapter One focuses on Zero Dark Thirty (2012) which insisted on its own inclusion in the intricate web of reporting about the events it represents: director Kathryn Bigelow and screenwriter/producer Mark Boal call it a "reported film," and the film's formal techniques mimic this claim. This chapter uses film studies, journalism studies, comparative media studies, and cultural studies to examine Zero Dark Thirty in this context. Chapter Two examines the formal moves that two feature films about drones---Good Kill (Andrew Niccol, 2014) and Eye in the Sky (Gavin Hood, 2016)---make to affirm and challenge dominant narratives about drone warfare, respectively. Though these two films are ideologically opposed, they use the same symbolic economy of helpless female bodies to comment on the moral and bodily stakes of drone warfare. They also use the same formal techniques to different effects, the first emphasizing the depersonalization of drone warfare, and the second emphasizing the intimacy of drone warfare. Together, these chapters interrogate the ways in which contemporary war films have framed the War on Terror and the ways in which those frames---cinema and the armed drone---shape viewers' perception of the Muslim subject.
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