By J. Colleran
How has the media, starting with the Persian Gulf struggle, altered political research and the way has this variation in flip affected socially-critical paintings? Jeanne Colleran examines greater than 40 performs, such a lot of which have been written in direct reaction to the emergent New global Order and the next 1991 struggle in Iraq in addition to to the Sep 11 assaults and the retaliatory activities in Iraq and Afghanistan. those works are drawn basically from the British and American level - the significant companions in those conflicts. The writers contain sought after figures (Harold Pinter, Caryl Churchill, Sam Shepard, Tony Kushner, David Hare, Trevor Griffiths, Naomi Wallace, and Neil LaBute), paintings by way of theatre teams and inventive administrators (San Francisco Mime Troupe, Nicolas Kent and the Tricycle Theatre, and Alan Buchman and tradition Project), and performs by means of rising playwrights and via writers who paintings basically as reporters or in different media (Anne Nelson, Lawrence Wright, George Packer, Robin Soans, and others).
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I could do that in any city in America. Think what’s happened in our cities when we’ve had riots, and problems, and looting. Stuff happens! ’ That’s nonsense (Rumsfeld 2003). As Rumsfeld breathtakingly demonstrated in his glib answers, while postmodern theory may struggle with how to determine the truth and validity of whether the image, the word, and even the body can be a site of direct signification, much popular and political discourse is happy to play either side of the equation. It veers between asserting that the body or scene, as photographed or televised, is a verifiable historical and material referent and suggesting that the body or scene has been staged or mediated.
The war—or at least the war planning—was to be as bloodless as the video games that mimicked it. But the facts are that between 125,000 and150,000 Iraqis, both military and civilian, died in the short war, against 148 American combat deaths (Dunnigan 1992). 5 Baudrillard’s Critique: From Outrageous to Obvious For Jean Baudrillard, the fallout from the relentless visibility of media coverage is an “obscenity of the visible, of the all-too-visible . . of what no longer has any secret, of what dissolves completely in information and communication” (1983, 131).
For Paul Patton, the Gulf War “witnessed the birth of a new kind of military apparatus which incorporates the power to control the production and circulation of images as well as the power to direct the actions of bodies and machines. It involved a new kind of event and a new kind of power which is at once both real and simulacral” (Patton 1995, 5–6). The desert conflict also exemplified how media coverage can abound but also be heavily censored, hijacked by nationalist fervor, and indebted to its advertisers.