Citation

Der Derian J. Millennium J. Int. Stud. 2010; 39(1): 181-186.

Copyright

(Copyright © 2010, London School of Economics and Political Science, Millennium Publishing Group, Publisher SAGE Publishing)

DOI

10.1177/0305829810374793

PMID

unavailable

Abstract

The films Avatar, The Hurt Locker and Human Terrain are presented as critical intertexts for understanding how the cinematic aestheticisation of violence can glorify as well as vilify war, depending on how the spectator identifies with the protagonist and the investigator with the informant. Estrangement from and entanglement with the other become key variables for assessing the anti-war impact of a film.