| Publication |
2011.
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| Summary/Abstract |
After reviewing conceptual contributions that address the blurred boundary between the war and home fronts and the complexities of contemporary political topologies in general, I turn to a reading of three artistic texts—the photomontages of Martha Rosler, Paul Haggis’s film In the Valley of Elah, and Annie Proulx’s story, “Tits-Up in a Ditch”—to analyze the war front–home front relationship. I end with some reflections on the analytic contributions of montage techniques in terms of the way they establish equivalences that revalue our perspectives on the locations and actualities (presences) of war.
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