By Roger Stahl
Militainment, Inc. deals provocative, occasionally stressful perception into the ways in which conflict is gifted and considered as entertainment―or "militainment"―in modern American pop culture. warfare has been the topic of leisure for hundreds of years, yet Roger Stahl argues new interactive mode of militarized leisure is recruiting its viewers as virtual-citizen squaddies. the writer examines a variety of historic and modern media examples to illustrate the ways in which conflict now invitations audiences to go into the spectacle as an interactive player via numerous channels―from information assurance to on-line games to fact tv. easily placed, instead of offering conflict as anything to be watched, the recent interactive militainment offers conflict as anything to be performed and skilled vicariously. Stahl examines the demanding situations that this new mode of militarized leisure poses for democracy, and explores the controversies and resistant practices that it has inspired.
This quantity is vital studying for someone attracted to the connection among struggle and media, and it sheds staggering gentle at the connections among digital battlefields and the foreign conflicts unfolding in Iraq and Afghanistan at the present time.
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Additional resources for Militainment, Inc. : war, media, and popular culture
In step with the spirit of Baudrillard’s critique, Noam Chomsky also questioned the use of this most fundamental representation: “As I understand the concept of ‘war,’ it involves two sides in combat, say, shooting at each other. ” 53 Media scholar George Gerbner recognized the Persian Gulf War as a critical point in history where the new screen power in a sense caught up to the power of material violence. ” 54 Gerbner named this sublimation the “Gulf War Movie” to signal that the enterprise of war had shifted its center of gravity in a decidedly mercurial direction and into the logics of the spectacle.
These questions, which the current book addresses, are not raised as a counterpoint to Andersen per se, but rather an attempt to complement, amplify, and strengthen her provocations. Her insights provide a valuable reference point for understanding those symbolic practices that broke through the proscenium of the television war to envelope the viewer in a decidedly ﬁrst-person regime of signs. We can begin to deﬁne the features of the interactive war. Like the spectacle, the interactive war is a discourse that operates through consumption and the production of pleasure.
Such knowledge becomes immaterial, however, once death itself becomes unreal. 32 This is a war that makes itself unavailable for critique: unthinkable not for its ghastliness but in its ghostliness. 28 All-Consuming War Technofetishism The second trope of the spectacular war—“technofetishism”—entails the worship of high-tech weaponary. This trope has much in common with the clean war. 33 The techno-spectacle sometimes works by eroticizing weapons, imbuing them with overt sexual symbolism. Other times, some blunt aesthetic conceit such as sunset backlighting turns the weapon into an object of beauty, a twilight dream equal to the somnambulant spectator.