Jason Bourne: Gender, Geopolitics, and Contemporary Representations of National Security

Communicating the ideas and attitudes of spying in film music: A social semiotic approach

“…Actual intelligence work is slow and bureaucratic, while in fictional representations the reality of complex geopolitical issues boils down to matters of masculine prowess played out in adventures (Cohan, Hark 1993;Bingham 1994;Lehman 2001). The settings where the adventures play out tend to be exotic locations and tourist destinations at the periphery of the industrial world -locations which represent both the changing actual fears about real or imagined global threats (Dodds 2010), and also, as in the case of British spy films, a kind of fantasy retaining Britain's central role in world geopolitics. For Zegart (2010), formerly an intelligence worker, such representations create a blurring of the spy myth and reality, which leads to policy problems.…”

Resurrecting the vigilante: paternal sovereignty, exceptionality and familial security inTaken(2008) andTaken 2(2013)

“…Specifically, Mills' use of violence is both pre-emptive and anticipatory, in that he is trying to prevent the detonation of a 'ticking bomb' (in this case, the sexual enslavement of his daughter), whilst indirectly exposing and destroying a wider trafficking operation. The 'ticking bomb' scenario, of course, was beloved by the Bush administration in justifying its aggressive, militaristic policies (Hannah 2006), having been employed, especially, to justify the race to relieve Saddam Hussein of his putative weapons of mass destruction (Dodds 2010). But Mills is also haunted by a fear of failure.…”

3-D cinema: immersive media technology

“…The most amazing tactual effects'' (Aldous Huxley 1984in Paterson 2006 3-D cinema is a largely overlooked media within geographical critique. This paucity is notable given the sustained academic consideration afforded to other popular media, including, for example: newspaper cartoons (Dodds 1998(Dodds , 2010aFalah et al 2006), videogames (Ash 2009(Ash , 2010a(Ash , 2010b(Ash , 2012Ash and Gallacher 2011;Hughes 2010;Power 2007;Shaw 2010;Shaw and Sharp 2013;Shaw and Warf 2009;Stahl 2006), graphic novels (Holland 2012), comic books (Dittmer 2005(Dittmer , 2007, radio (Pinkerton and Dodds 2009), magazines (Sharp 2000), journalism (Pinkerton 2013), and film (Aitken and Dixon 2006;Carter and Dodds 2011;Carter and McCormack 2006;Dittmer 2011;Dittmer and Dodds 2013;Dodds 2010b;Lukinbeal andZimmermann 2006, 2008;Pile 2011;Power and Crampton 2005;Shapiro 2009;Sharp 1998).…”