Counter-Terror Culture: Ambiguity, Subversion, or Legitimization?
Counter-Terror Culture: Ambiguity, Subversion, or Legitimization?
复制标题
反恐文化：模糊、颠覆还是合法化？
DOI：
10.1177/0967010607078538
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发表时间：
2007
影响因子：
3.2
通讯作者：
C. W. Erickson
中科院分区：
文献类型：
--
作者：
C. W. Erickson
本文探讨了美国流行文化中的恐怖主义和反恐主题，重点关注 9/11 前后环境中的八部电影或电视作品。每部作品都探讨了虚构空间中恐怖主义、反恐动员以及占领和抵抗所带来的困境。其中三部作品——《24小时》、《The Agency》和《The Grid》——分别试图在一个完全虚构的反恐部队中模拟反恐行动的活动；中央情报局；以及由中央情报局、联邦调查局、国家安全委员会和军情五处特工组成的特设情报和战术小组。其他五部作品则更加远离模仿“现实”的明确尝试：《X档案》、《黑客帝国三部曲》、《双面女间谍》、《4400》和《太空堡垒卡拉狄加》。在所有这些作品中，公开和秘密的安全行动对人权构成的威胁是其叙事结构的核心。
This article examines themes of terrorism and counter-terrorism in US popular culture, focusing on eight cinematic or televisual works from the pre- and post-9/11 environment. Each of these works explores the dilemmas posed by terrorism, counter-terrorist mobilization, and occupation and resistance in fictional spaces. Three of the works — 24, The Agency, and The Grid — are narratives that attempt to simulate the activities of counter-terrorist operations in, respectively, a wholly fictional Counter Terrorist Unit; the Central Intelligence Agency; and ad hoc intelligence and tactical groups combing CIA, FBI, NSC, and MI5 agents. The other five works are more removed from an explicit attempt to mimic `reality': The X-Files, The Matrix Trilogy, Alias, The 4400, and Battlestar Galactica. In all of these works, the dangers to human rights posed by both overt and covert security operations lie at the core of their narrative structures.