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Virtuous War is the first book to map the emergence and judge the consequences of a new military-industrial-media-entertainment network. James Der Derian takes the reader from a family history of war and genocide to new virtual battlespaces in the Mojave Desert, Silicon Valley, Hollywood and American universities. He tracks the convergence of cyborg technologies, video games, media spectacles, war movies, and do-good ideologies that produced a chimera of high-tech, low-risk ‘virtuous wars’. In this newly updated edition, he reveals how a misguided faith in virtuous war to right the wrongs of the world instead paved the way for a flawed response to 9/11 and a disastrous war in Iraq. Blinded by virtue, emboldened by technological superiority, seized by a mimetic terror, the US blundered from one foreign fiasco to the next. Taking the long view as well as getting up close to the war machine, Virtuous War provides a compelling alternative to the partisan politics, instant analysis and technical fixes that currently bedevil US national security policy.
The first comprehensive study of the contentious issue of the public's right to know in time of war or limited conflict. The book traces the uneasy relations between the military and a generally unprepared and gullible media, from the Crimea to the present day. It shows how the advent of nuclear warfare has outlawed the nationalistic wars of survival of the past, and freed the citizen from his age-old obligations in time of war, able to make up his or her own mind on the merits of the situation. It is here that the battle lies, in the struggle for public opinion as a necessary precursor to war. This book details how the military discovered the secret of media and public manipulation in the Falklands, tested it in Grenada, and refined it in Panama before deploying it in all its glory during the Gulf. This book is essential reading for every soldier and journalist, or any student of military history as it points the way to the future.
This book examines the practices of actors involved in the media reportage of war, and the ways in which these practices may influence the conduct of modern military operations. War is a complex phenomenon which raises numerous questions about the organization of society that continue to challenge all those involved in its study. Increasingly, this includes the need to engage theoretically and empirically with the progressive collapse between the ways in which wars are conducted and the manner in which they are reported in the media. Drawing on the work of Erving Goffman, Military Media Management offers a distinctly new approach to our appreciation of the dynamic relationship between war and media; one that is fundamentally a product of social relations between those engaged in reporting war, and those conducting war campaigns. By exploring how and why the military manage information in particular ways, the text succeeds in providing a framework through which wider sociological investigation of this relationship can be understood. This book will be of much interest to students of military and security studies, media studies, war and conflict studies and IR in general.
United States Army in Vietnam. CMH Pub. 91-13. Draws upon previously unavailable Army and Defense Department records to interpret the part the press played during the Vietnam War. Discusses the roles of the following in the creation of information policy: Military Assistance Command's Office of Information in Saigon; White House; State Department; Defense Department; and the United States Embassy in Saigon.
The trinity of government, military and publics has been drawn together into immediate and unpredictable relationships in a "new media ecology" that has ushered in new asymmetries in the waging of war and terror. To help us understand these new relationships, Andrew Hoskins and Ben O'Loughlin here provide a timely, comprehensive and highly readable survey of the field of war and media. War is diffused through a complex mesh of our everyday media. Paradoxically, this both facilitates and contains the presence and power of enemies near and far. The conventions of so-called traditional warfare have been splintered by the availability and connectivity of the principal locus of war today: the electronic and digital media. Hoskins and O'Loughlin identify and illuminate the conditions of what they term "diffused war" and the new challenges it raises for the actors who wage and counter warfare, for their agents and mechanisms of the new media and for mass publics. This book offers an invaluable review of the key literature and presents a fresh approach to the understanding of the dynamic relationships between war and media. It will be welcomed by a broad range of students taking courses on war and media and related modules, especially in media, communication and cultural studies, politics and international relations, sociology, journalism, and security studies.
This book applies the concept of mediatization to the contemporary dynamic between war, media and society, with a focus on the Israel Defence Forces (IDF). Since the beginning of the 21st century the IDF has undergone an intensive process of mediatization that has transformed the media into an interpretative grid for many of its military activities and increasingly utilized media to garner public support and construct civilian perceptions of conflict and security through media activity and strategy. This process can be divided into four distinct chronological phases in accordance with the operational challenges confronted by the IDF during this period, from the Al-Aqsa Intifada of 2000, through Israeli unilateral disengagement from Gaza in 2005, and the second Lebanon war of 2006, to the series of Gaza confrontations of 2008-2014. The work shows how the IDF’s media policy evolved from a narrow perception of its role, and separation between operational and media actions to a cohesive and coherently articulated media strategy that is increasingly intertwined with military action and operational strategy and a vital component of strategic military aims and objectives. This strategic stance has led the IDF to adopt a global media perspective using the most advanced new media platforms, designed to influence public opinion and improve national narratives, both in Israel and the international community. By applying the concept of mediatization to the Israeli case, this book fills a research lacuna and offers a new prism for the study of media-military relations in contemporary conflicts. The book will be of much interest to students of civil-military relations, strategic studies, Middle Eastern Studies, media and communication studies, sociology and IR, in general.
"For Karl-Friedrich Walling, this unprecedented accomplishment was the work of many hands and many generations, but of Alexander Hamilton especially."--BOOK JACKET.
With the rise of drones and computer-controlled weapons, the line between war and video games continues to blur. In this book, the authors trace how the realities of war are deeply inflected by their representation in popular entertainment. War games and other media, in turn, feature an increasing number of weapons, tactics, and threat scenarios from the War on Terror. While past analyses have emphasized top-down circulation of pro-military ideologies through government public relations efforts and a cooperative media industry, The Military-Entertainment Complex argues for a nonlinear relationship, defined largely by market and institutional pressures. Tim Lenoir and Luke Caldwell explore the history of the early days of the video game industry, when personnel and expertise flowed from military contractors to game companies; to a middle period when the military drew on the booming game industry to train troops; to a present in which media corporations and the military influence one another cyclically to predict the future of warfare. In addition to obvious military-entertainment titles like AmericaÕs Army, Lenoir and Caldwell investigate the rise of best-selling franchise games such as Call of Duty, Battlefield, Medal of Honor, and Ghost Recon. The narratives and aesthetics of these video games permeate other media, including films and television programs. This commodification and marketing of the future of combat has shaped the publicÕs imagination of war in the post-9/11 era and naturalized the U.S. PentagonÕs vision of a new way of war.