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    Rights statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Interventions on 10/01/2018, available online: http://www.tandfonline.com/10.1080/1369801X.2017.1421030

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Capturing Iraq: Optical Focalization in Contemporary War Cinematography

Research output: Contribution to journalJournal article

Published
<mark>Journal publication date</mark>2018
<mark>Journal</mark>Interventions: International Journal of Postcolonial Studies
Issue number4
Volume20
Number of pages18
Pages (from-to)470-487
Publication statusPublished
Early online date10/01/18
Original languageEnglish

Abstract

This essay investigates different registers of embedded and fragmentary focalizations in war cinematography on the Iraq War (2003–11), 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 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 on screen. These renditions of mise en abyme implicate, renegotiate, and even argue with the wide-angle perspective which frames the Iraq War.

Bibliographic note

This is an Accepted Manuscript of an article published by Taylor & Francis in Interventions on 10/01/2018, available online: http://www.tandfonline.com/10.1080/1369801X.2017.1421030