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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

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Capturing Iraq : Optical Focalization in Contemporary War Cinematography. / Fox, Rachel.

In: Interventions: International Journal of Postcolonial Studies, Vol. 20, No. 4, 2018, p. 470-487.

Research output: Contribution to journalJournal article

Harvard

Fox, R 2018, 'Capturing Iraq: Optical Focalization in Contemporary War Cinematography' Interventions: International Journal of Postcolonial Studies, vol. 20, no. 4, pp. 470-487. https://doi.org/10.1080/1369801X.2017.1421030

APA

Fox, R. (2018). Capturing Iraq: Optical Focalization in Contemporary War Cinematography. Interventions: International Journal of Postcolonial Studies, 20(4), 470-487. https://doi.org/10.1080/1369801X.2017.1421030

Vancouver

Fox R. Capturing Iraq: Optical Focalization in Contemporary War Cinematography. Interventions: International Journal of Postcolonial Studies. 2018;20(4):470-487. https://doi.org/10.1080/1369801X.2017.1421030

Author

Fox, Rachel. / Capturing Iraq : Optical Focalization in Contemporary War Cinematography. In: Interventions: International Journal of Postcolonial Studies. 2018 ; Vol. 20, No. 4. pp. 470-487.

Bibtex

@article{2813305087f94c46a76243151e80c6d1,
title = "Capturing Iraq: Optical Focalization in Contemporary War Cinematography",
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.",
keywords = "fragmentary focalization, Generation Kill, The Hurt Locker, Iraq War, mise en abyme",
author = "Rachel Fox",
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",
year = "2018",
doi = "10.1080/1369801X.2017.1421030",
language = "English",
volume = "20",
pages = "470--487",
journal = "Interventions: International Journal of Postcolonial Studies",
issn = "1369-801X",
publisher = "Routledge",
number = "4",

}

RIS

TY - JOUR

T1 - Capturing Iraq

T2 - Optical Focalization in Contemporary War Cinematography

AU - Fox, Rachel

N1 - 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

PY - 2018

Y1 - 2018

N2 - 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.

AB - 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.

KW - fragmentary focalization

KW - Generation Kill

KW - The Hurt Locker

KW - Iraq War

KW - mise en abyme

U2 - 10.1080/1369801X.2017.1421030

DO - 10.1080/1369801X.2017.1421030

M3 - Journal article

VL - 20

SP - 470

EP - 487

JO - Interventions: International Journal of Postcolonial Studies

JF - Interventions: International Journal of Postcolonial Studies

SN - 1369-801X

IS - 4

ER -