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ID:
186587
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| Summary/Abstract |
At the dawn of the 21st century the “War on Terror” ushered in an era in which some were besieged by wars and others by war-related imagery. For the fortunate who live outside of war zones, mostly in the Global North and West, the experience of war has been primarily a mediated one. With the advent of digital imagery and its many evolving and developing technological transmutations, the possibilities of reproduction, representation, manipulation, and circulation have grown exponentially in the past twenty years. Yet in the grand scheme of human communication history, the “pictorial turn” is a relatively recent phenomenon that requires further analysis. In this article, I unpack and analyze some of the key media moments from the vast visual lexicon and iconography of the “War on Terror” to reveal its scaffolding and machinations and offer counterstrategies of resistance. I argue that the “War on Terror” is the orchestrated sum of literal and figurative imagery, a coordinated public relations disinformation media campaign designed to hide real wars and their true destruction and costs.
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| 2 |
ID:
185755
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| Summary/Abstract |
This article traces how the Afghan cultural, media, and arts sectors have gone through cycles of boom and bust in tandem with the country’s tumultuous history in recent decades, starting with the prewar golden era in the 1960s and 1970s, then focusing on the post-9/11 internationally funded media expansion, and finally on the Taliban’s return to power. The current exodus of human talent, due to forced migration, dispossession, and displacement, amounts to a profound cultural loss. But the country has already been transformed by the influence of a period of media freedoms and an emergent public sphere that created space for democratic debate and cosmopolitan cultural expression.
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