| Publication |
2007.
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| Summary/Abstract |
Regardless of its cultural and discursive turn, the field of security studies has not yet paid sufficient attention to visual culture. In particular, approaches that focus on the articulation of security have been quite inattentive to images. With respect to post-9/11 security policy, it is argued here that the images of planes crashing into the World Trade Center have become not only a legitimacy provider for security policy but also part of every person's visual reservoir and pictorial memory, on which the successful articulation of security in part depends. It is therefore suggested to link the study of securitization with the study of both images and pictorial memory. The present article, by discussing three visual projects revolving around 9/11, looks for desecuritizing potential in photography and examines the extent to which photography can offer oppositional interventions in security policy. However, the surplus meaning that images inevitably carry with them, while limiting the securitizing potential of images, also reduces the extent to which opposition can rely on images
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