Referring to the recent ‘visual turn’ in Critical Security Studies, the aim of this article is threefold. First, by taking the concept of visual securitization one step further, we intend to theorize the image as an iconic act understood as an act of showing and seeing. This turn to the performativity of the visual directs our attention to the securitizing power of images. Second, this article addresses the methodological challenges of analysing images and introduces an iconological approach. Iconology enables the systematic interpretation of images as images by also taking their social embeddedness into account. In the third part of this article we apply this theoretical and methodological framework to analyse a cover of the TIME magazine published in summer 2010. The cover shows a young Afghan woman whose ears and nose were cut off accompanied by the headline: ‘What happens if we leave Afghanistan’. This cover image not only provoked a heated debate in the USA about the (ab)use of images in order to legitimize the continuity of the war in Afghanistan, but shows how gender and the body are visually securitized.
The primary objective of this article is to theorise transformations of Western order in a manner that does not presuppose a fixed understanding of 'the West' as a preconstituted political space, ready-made and waiting for social scientific enquiry. We argue that the Copenhagen School's understanding of securitisation dynamics provides an adequate methodological starting point for such an endeavour. Rather than taking for granted the existence of a Western 'security community', we thus focus on the performative effects of a security semantics in which 'the West' figures as the threatened, yet notoriously vague referent object that has to be defended against alleged challenges. The empirical part of the article reconstructs such securitisation dynamics in three different fields: the implications of representing China's rise as a challenge to Western order, the effects of the transformation of the North Atlantic Treaty Organisation (NATO) towards a global security actor, and the consequences of extraordinary renditions and practices of torture for the normative infrastructure of 'the West'. We conclude that Western securitisation dynamics can be understood as a discursive shift away from a legally enshrined culture of restraint and towards more assertive forms of self-authorisation.
The global war on terror (GWOT) is undoubtedly the most recent case where a government authorized ‘enhanced interrogation techniques’, a euphemism for torture. In addition to shocking stories and photographs from Guantánamo, Abu Ghraib and CIA black site prisons, popular culture assists in the production of torture’s public image and indicates a site of norm contestation. Therefore, the aim of this article is threefold. First, the author shows that Zero Dark Thirty (2012, dir. Kathryn Bigelow) is constitutive for the public image of torture and its meaning-in-use. Second, she argues that the film’s representation of torture works as a popular site of contesting the anti-torture norm. Finally, she reflects on the continuum between popular culture and the politics of torture.
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