“War on Terror”: The Limitation of Representation of the Film
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Keywords

Post-colonialism
War on terror
American exceptionalism
Orientalism
Film representation

DOI

10.36922/ssr.v3i2.1118

Abstract

History was always written by the winners. Despite the fact that the history of the War on Terror is relatively new, Hollywood is quick to develop a visual history of the conflict. Hollywood’s excellent realism aesthetics were successful in justifying the goal and method of the “war on terror,” interrupting ongoing reality to influence and reconstruct public memory about what happened. This dissertation will use three awarded and influential case studies: The Hurt Locker, Zero Dark Thirty and American Sniper to demonstrate the fragmentation of film representation, that the film only speaks for “us.” The dissertation aims to uncover the hidden political unawareness behind film representations, the manner in which those films provide limited versions of what happened, and how the films emphasise the self-subjectivity while objectifying the other.

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