Culture Crisis And America S War On Terror

Since the infamous events of 9/11, the fear of terrorism and the determination to strike back against it has become a topic of enormous public debate. The 'war on terror' discourse has developed not only through American politics but via other channels including the media, the church, music, novels, films and television, and therefore permeates many aspects of American life. Stuart Croft suggests that the process of this production of knowledge has created a very particular form of common sense which shapes relationships, jokes and even forms of tattoos. Understanding how a social process of crisis can be mapped out and how that process creates assumptions allows policy-making in America's war on terror to be examined from new perspectives. Using IR approaches together with insights from cultural studies, this book develops a dynamic model of crisis which seeks to understand the war on terror as a cultural phenomenon.

The War on Terror and American Popular Culture is a collection of original essays by academics and researchers from around the world that examines the complex interrelation between the Bush administration's "War on Terror" and American popular culture. Written by experts in the fields of literature, film, and cultural studies, this book examines in detail how popular culture reflects concerns and anxieties about the September 11 attacks and the war those attacks generated, how it interrogates the individual and collective impacts that war has wrought, how it might challenge or critique current policy, and how it might reinforce or endorse the war and its sociopolitical paradigms.

Since 9/11, we have been told that terrorists are pathological evildoers. Yet before the 1970s, hijackings, assassinations, and other acts now called 'terrorism' were considered the work of rational actors. Disciplining Terror explains how political violence became 'terrorism', and how this transformation ultimately led to the current 'war on terror'.

Americans responded to the deadly terrorist attacks on September 11, 2001, with an outpouring of patriotism, though all were not united in their expression. A war-based patriotism inspired millions of Americans to wave the flag and support a brutal War on Terror in Afghanistan and Iraq, while many other Americans demanded an empathic patriotism that would bear witness to the death and suffering surrounding the attack. Twenty years later, the war still simmers, and both forms of patriotism continue to shape historical understandings of 9/11's legacy and the political life of the nation. John Bodnar's compelling history shifts the focus on America's War on Terror from the battlefield to the arena of political and cultural conflict, revealing how fierce debates over the war are inseparable from debates about the meaning of patriotism itself. Bodnar probes how honor, brutality, trauma, and suffering have become highly contested in commemorations, congressional correspondence, films, soldier memoirs, and works of art. He concludes that Americans continue to be deeply divided over the War on Terror and how to define the terms of their allegiance--a fissure that has deepened as American politics has become dangerously polarized over the first two decades of this new century.

Cultural Resistance, 9/11, and the War on Terror: Sensible Interventions offers a fresh account of the enduring cultural legacies of the September 11, 2001 terror attacks and the global war on terror through the critical lens of cultural resistance. It assesses the intersecting ways that popular culture has been deployed as oppositional practice in the post-9/11 context by documenting a collection of media texts, including a political hip hop album, a TV sitcom, a best-selling novel and studio photographs. Deviating from the conventional discursive and representative axis of mourning, nationalism and commemoration, this multimedia assemblage contests and rearticulates the political meanings, affects and visualizations of the war on terror and its global consequences. Drawing on the theoretical work of Jacques Rancière, the book also argues that these cultural artefacts are extending cultural resistance by shifting the scenes and methods of opposition to the realm of the sensible, or sensorial experiences. Never celebratory, the book encapsulates the potential of cultural practices against restricted post-9/11 regimes of visibility and audibility in the public sphere, but it also remains attentive to their blind spots, contradictions and constraints. This book offers a new angle to consider the events of 9/11, the war on terror and their continual effects, one that blurs established visions of patriotism and grief.

An entire generation of young adults has never known an America without the War on Terror. This book contends with the pervasive effects of post-9/11 policy and myth-making in every corner of American life. Never-Ending War on Terror is organized around five keywords that have come to define the cultural and political moment: homeland, security, privacy, torture, and drone. Alex Lubin synthesizes nearly two decades of United States war-making against terrorism by asking how the War on Terror has changed American politics and society, and how the War on Terror draws on historical myths about American national and imperial identity. From the PATRIOT Act to the hit show Homeland, from Edward Snowden to Guantanamo Bay, and from 9/11 memorials to Trumpism, this succinct book connects America's political economy and international relations to our contemporary culture at every turn.

A frequent assumption of the American-led ‘war on terror’ and its accompanying discourse originated largely with the George W. Bush Administration, and that there was a counterterrorism policy revolution in the U.S. political arena. Challenging these assumptions, through a genealogical analysis of U.S. terrorism and counterterrorism discourses, this book demonstrates a distinct continuity (and lack of change) of U.S. counterterrorism policy, from Ronald Reagan, to Bill Clinton, and through to George W. Bush. The book focuses on President Clinton’s discursive construction of ‘new terrorism’, or ‘catastrophic terrorism’, and the counterterrorism practices implemented by the Clinton Administration, while simultaneously comparing it with President Reagan’s and President George W. Bush’s approaches to counterterrorism. It shows how the war on terror can be traced to earlier periods, and that the so-called Bush revolution was largely built upon the existing framework established by President Reagan and President Clinton. Prior to the 2001 terrorist attacks, Clinton had expanded Reagan’s first ‘war on terrorism’ discourse and constructed the ‘new terrorism’ discourse, characterised by the notions of borderless threats, ‘home-grown’ terrorism, WMD-terrorism, cyberterrorism, and rogue states. Clinton’s ‘new terrorism’ discourse provided a useful framework for George W. Bush to discursively respond to the terrorist attacks on September 11th, 2001. Aiming to uncover the myth of President George W. Bush’s foreign policy revolution and contribute to a deeper historical understanding of the U.S.-led war on terror, it will be of great use to postgraduates and scholars of US foreign policy, security studies and terrorism studies.

This book uses a comparative analysis to examine foreign policy discourses and the dynamics of the ‘War on Terror'. The book considers the three principal members of the Coalition of the Willing in Afghanistan and Iraq: the United States, Britain and Australia. Despite significant cultural, historical and political overlap, the War on Terror was nevertheless rendered possible in these contexts in distinct ways, drawing on different discourses and narratives of foreign policy and identity. This volume explores these differences and their origins, arguing that they have important implications for the way we understand foreign policy and political possibility. The author rejects prevalent interpretations of a War on Terror foreign policy discourse, in the singular, highlighting that coalition states both demonstrated and relied upon divergent policy framings to make the War on Terror possible. The book thus contributes to our understanding of political possibility, in the process correcting a tendency to view the War on Terror as a universal and monolithic political discourse. This book will be of much interest to students of foreign policy, critical security studies, terrorism studies, discourse analysis, and IR in general.