Considering representations of torture in such television series as
24,
Alias, and
Homeland; the documentaries
Taxi to the Dark Side (2007),
Ghosts of Abu Ghraib (2007), and
Standard Operating Procedure (2008); and ‘torture porn’ feature films from the Saw and Hostel series, Hilary Neroni unites aesthetic and theoretical analysis to provide a unique portal into theorizing biopower and its relation to the desiring subject. Her work ultimately showcases film and television studies’ singular ability to expose and potentially disable the fantasies that sustain torture and the regimes that deploy it.
24,
Alias, and
Homeland; the documentaries
Taxi to the Dark Side (2007),
Ghosts of Abu Ghraib (2007), and
Standard Operating Procedure (2008); and ‘torture porn’ feature films from the Saw and Hostel series, Hilary Neroni unites aesthetic and theoretical analysis to provide a unique portal into theorizing biopower and its relation to the desiring subject. Her work ultimately showcases film and television studies’ singular ability to expose and potentially disable the fantasies that sustain torture and the regimes that deploy it.
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विषयसूची
Acknowledgments
Introduction: Confronting the Abu Ghraib Photographs
1. Torture, Biopower, and the Desiring Subject
2. The Nonsensical Smile of the Torturer in Post-9/11 Documentary Films
3. Torture Porn and the Desiring Subject in Hostel and Saw
4. 24, Jack Bauer, and the Torture Fantasy
5. The Biodetective Versus the Detective of the Real in Zero Dark Thirty and Homeland
6. Alias and the Fictional Alternative to Torture
Notes
Index
लेखक के बारे में
Hilary Neroni teaches in the Film and Television Studies Program at the University of Vermont and is the author ofThe Violent Woman: Femininity, Narrative, and Violence in Contemporary American Cinema.
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