Pub Date : 2022-09-25DOI: 10.1080/17526272.2022.2126811
Stefan Aguirre Quiroga
The Vietnam War saw widespread usage by American soldiers of metaphors and imagery referencing the mythic Old West of American history. This article examines a case of an Old West reference that has been overlooked in previous research: The Kit Carson Scouts, former PLAF and PAVN soldiers who had volunteered to work for the United States. I argue that Americans, ranging from high ranking officers to enlisted men, used Old West metaphors and imagery drawn from popular culture to interpret and understand the place that the Kit Carson Scout had amongst American forces and how the cooperation between South and North Vietnamese defectors and American soldiers was meant to function. In the process, Americans faced resistance from Vietnamese scouts who could not identify themselves with examples from mythologized American history.
{"title":"Together with Bloody Knife in South Vietnam: Old West Metaphors and the Kit Carson Scouts during the Vietnam War","authors":"Stefan Aguirre Quiroga","doi":"10.1080/17526272.2022.2126811","DOIUrl":"https://doi.org/10.1080/17526272.2022.2126811","url":null,"abstract":"The Vietnam War saw widespread usage by American soldiers of metaphors and imagery referencing the mythic Old West of American history. This article examines a case of an Old West reference that has been overlooked in previous research: The Kit Carson Scouts, former PLAF and PAVN soldiers who had volunteered to work for the United States. I argue that Americans, ranging from high ranking officers to enlisted men, used Old West metaphors and imagery drawn from popular culture to interpret and understand the place that the Kit Carson Scout had amongst American forces and how the cooperation between South and North Vietnamese defectors and American soldiers was meant to function. In the process, Americans faced resistance from Vietnamese scouts who could not identify themselves with examples from mythologized American history.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"20 1","pages":"354 - 371"},"PeriodicalIF":0.4,"publicationDate":"2022-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73841815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.1080/17526272.2022.2116186
S. Maxwell
The technology of unilateral remote warfare develops continuously, and with it, an ever-rising threat to human lives and freedom from an array of actors, mostly state powers, that seek to use oppressive force against civilian populations. Trevor Paglen is a political visual artist, whose project Drones represents military operations and resources in ways that recontextualize the processes of visual targeting enacted by military drones. Paglen’s work highlights the differences between human and machine vision and creates deliberate obfuscation that renders his photographs visually abstract. Following work by TJ Clark, Ariella Azoulay and Arden Reed, I approach Paglen’s photograph Untitled (Reaper Drone) in the form of a slow investigation that highlights durational viewing. Slowness in this form creates a conversation between myself and the image that acknowledges the temporal dimension of art-viewing and resists the unilateral gaze of the drone.
{"title":"An Investigation into Trevor Paglen’s Drones Photographs, Military Targeting, and Looking Slowly","authors":"S. Maxwell","doi":"10.1080/17526272.2022.2116186","DOIUrl":"https://doi.org/10.1080/17526272.2022.2116186","url":null,"abstract":"The technology of unilateral remote warfare develops continuously, and with it, an ever-rising threat to human lives and freedom from an array of actors, mostly state powers, that seek to use oppressive force against civilian populations. Trevor Paglen is a political visual artist, whose project Drones represents military operations and resources in ways that recontextualize the processes of visual targeting enacted by military drones. Paglen’s work highlights the differences between human and machine vision and creates deliberate obfuscation that renders his photographs visually abstract. Following work by TJ Clark, Ariella Azoulay and Arden Reed, I approach Paglen’s photograph Untitled (Reaper Drone) in the form of a slow investigation that highlights durational viewing. Slowness in this form creates a conversation between myself and the image that acknowledges the temporal dimension of art-viewing and resists the unilateral gaze of the drone.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"36 1","pages":"476 - 493"},"PeriodicalIF":0.4,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81835896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.1080/17526272.2022.2121257
B. Pong
The increasing prevalence of drone strikes, and the expanding applications of drones in different industries, are dissolving the boundaries between military and civilian realms. This special issue considers 'the art of drone warfare' by surveying the field of scholarship on drone warfare and drone art to date. It addresses the affective, discursive, technopolitical, and colonial histories underpinning drone systems, through essays discussing various cultural works encompassing marketing video, film, literature, and the visual arts. Despite the unresolved controversies surrounding the ethics of remote warfare, military drone use has become normalised. Examining the art and aesthetics of drone warfare helps to make its politics perceptible at a time when the logic behind autonomous military systems is becoming entrenched.
{"title":"The Art of Drone Warfare","authors":"B. Pong","doi":"10.1080/17526272.2022.2121257","DOIUrl":"https://doi.org/10.1080/17526272.2022.2121257","url":null,"abstract":"The increasing prevalence of drone strikes, and the expanding applications of drones in different industries, are dissolving the boundaries between military and civilian realms. This special issue considers 'the art of drone warfare' by surveying the field of scholarship on drone warfare and drone art to date. It addresses the affective, discursive, technopolitical, and colonial histories underpinning drone systems, through essays discussing various cultural works encompassing marketing video, film, literature, and the visual arts. Despite the unresolved controversies surrounding the ethics of remote warfare, military drone use has become normalised. Examining the art and aesthetics of drone warfare helps to make its politics perceptible at a time when the logic behind autonomous military systems is becoming entrenched.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"51 1","pages":"377 - 387"},"PeriodicalIF":0.4,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85506895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.1080/17526272.2022.2116194
Madonna Kalousian
This article examines how drone warfare transforms the targeted region into a zone of indistinction governed by anthropocentrism. Alwazir’s ‘Yemen Inside Out’, Behram’s ‘Not a Bugsplat’ portrait, and Chishty’s drone art undo the dehumanising rhetoric of ‘Bugsplat’, the US drone software, by redefining the distance between what is being targeted on the ground and drone pilots conducting on-screen assaults from above. Theorising the relegation of right-bearing humanness to the marginalised status of bare insecthood, I draw on Heidegger’s notion of distance, nearness, and the disappearance of nearness between the viewer and what is being viewed on a screen. I then invoke Agamben’s understanding of nearness, as I demonstrate how the artwork I examine enacts a distinctive subversion of Bugsplat’s political anthropocentrism and a challenge to the portrayal of the loss of life as something as easily erasable as the splat that the killing of an insect leaves on a surface.
本文探讨了无人机战争如何将目标地区转变为一个由人类中心主义统治的模糊区域。Alwazir的“也门Inside Out”，Behram的“Not a Bugsplat”肖像，以及Chishty的无人机艺术，通过重新定义地面目标与无人机飞行员在屏幕上进行攻击之间的距离，消除了美国无人机软件“Bugsplat”的非人性化言辞。我运用海德格尔关于距离、接近和观看者与屏幕上被观看的东西之间的接近消失的概念，将有权利的人性贬谪到裸露的昆虫性的边缘化地位的理论。然后，我引用了阿甘本对亲近的理解，我展示了我所研究的艺术作品是如何对Bugsplat的政治人类中心主义进行了独特的颠覆，并挑战了对生命丧失的描绘，就像杀死一只昆虫在表面上留下的印迹一样容易抹去。
{"title":"Drones as Machines of Sacrifice: Enframing the Zoological Components of On-Screen Warfare","authors":"Madonna Kalousian","doi":"10.1080/17526272.2022.2116194","DOIUrl":"https://doi.org/10.1080/17526272.2022.2116194","url":null,"abstract":"This article examines how drone warfare transforms the targeted region into a zone of indistinction governed by anthropocentrism. Alwazir’s ‘Yemen Inside Out’, Behram’s ‘Not a Bugsplat’ portrait, and Chishty’s drone art undo the dehumanising rhetoric of ‘Bugsplat’, the US drone software, by redefining the distance between what is being targeted on the ground and drone pilots conducting on-screen assaults from above. Theorising the relegation of right-bearing humanness to the marginalised status of bare insecthood, I draw on Heidegger’s notion of distance, nearness, and the disappearance of nearness between the viewer and what is being viewed on a screen. I then invoke Agamben’s understanding of nearness, as I demonstrate how the artwork I examine enacts a distinctive subversion of Bugsplat’s political anthropocentrism and a challenge to the portrayal of the loss of life as something as easily erasable as the splat that the killing of an insect leaves on a surface.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"9 1","pages":"461 - 475"},"PeriodicalIF":0.4,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75516433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.1080/17526272.2022.2116189
Sophia Brown
This article analyses The Drone Eats with Me: A Gaza Diary (2015) by Atef Abu Saif, which documents Israel's military offensive against Gaza in 2014. It argues that the aesthetic choices Abu Saif makes are indicative of his status as a Palestinian author producing a work of testimony for a non-Palestinian readership. Written in English, the text clearly aims to persuade its readers of the challenges of life under the surveillance and targeting of drones, and the long-standing nature of Palestinian subjugation, especially in Gaza. By focusing on this mediation of Abu Saif's testimony – by both author and publisher – the article reflects on what is at stake when Palestinian narratives are produced for an Anglophone readership. It also demonstrates that Palestine's historical and socio-cultural context generates its own particular narration of drone warfare, conversant with other works of Palestinian literature.
{"title":"The Drone Eats with Me: The Violent Intimacy of Life under Drones in Atef Abu Saif’s Gaza Diary","authors":"Sophia Brown","doi":"10.1080/17526272.2022.2116189","DOIUrl":"https://doi.org/10.1080/17526272.2022.2116189","url":null,"abstract":"This article analyses The Drone Eats with Me: A Gaza Diary (2015) by Atef Abu Saif, which documents Israel's military offensive against Gaza in 2014. It argues that the aesthetic choices Abu Saif makes are indicative of his status as a Palestinian author producing a work of testimony for a non-Palestinian readership. Written in English, the text clearly aims to persuade its readers of the challenges of life under the surveillance and targeting of drones, and the long-standing nature of Palestinian subjugation, especially in Gaza. By focusing on this mediation of Abu Saif's testimony – by both author and publisher – the article reflects on what is at stake when Palestinian narratives are produced for an Anglophone readership. It also demonstrates that Palestine's historical and socio-cultural context generates its own particular narration of drone warfare, conversant with other works of Palestinian literature.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"2 1","pages":"444 - 460"},"PeriodicalIF":0.4,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79563615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.1080/17526272.2022.2116187
A. Adams
The 2014 feature film Good Kill is a case study of how hegemonic popular culture can defang and absorb critiques of military discourse. Although this film articulates a limited critique of drone warfare, its major task is to normalize drone warfare in three ways. First, it presents a romanticized view of the ‘clean’ military capabilities of drone weaponry. Second, the film shows ordinary soldiers as morally good actors who are forced to execute operationally counterproductive orders by inept superiors. Finally, it emphasizes the corrosive effects of drone warfare on the protagonist’s mental wellbeing. This synthesis of tropes enables a depoliticized understanding of drone warfare, which is morally exculpatory for drones as a technology at the same time as it represents drone operators sympathetically. Good Kill demonstrates how hegemonic popular culture can articulate a limited critique of war in the course of politically legitimizing it.
{"title":"Blame the War, Not the Troops: Good Kill","authors":"A. Adams","doi":"10.1080/17526272.2022.2116187","DOIUrl":"https://doi.org/10.1080/17526272.2022.2116187","url":null,"abstract":"The 2014 feature film Good Kill is a case study of how hegemonic popular culture can defang and absorb critiques of military discourse. Although this film articulates a limited critique of drone warfare, its major task is to normalize drone warfare in three ways. First, it presents a romanticized view of the ‘clean’ military capabilities of drone weaponry. Second, the film shows ordinary soldiers as morally good actors who are forced to execute operationally counterproductive orders by inept superiors. Finally, it emphasizes the corrosive effects of drone warfare on the protagonist’s mental wellbeing. This synthesis of tropes enables a depoliticized understanding of drone warfare, which is morally exculpatory for drones as a technology at the same time as it represents drone operators sympathetically. Good Kill demonstrates how hegemonic popular culture can articulate a limited critique of war in the course of politically legitimizing it.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"98 1","pages":"408 - 424"},"PeriodicalIF":0.4,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85759886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.1080/17526272.2022.2119662
Peter Burt
This article considers how autonomous drone systems are portrayed in three promotional videos published by military-industrial advocates of such technology. The videos are reviewed to explore ethical issues relating to armed drones and autonomous systems in warfare. The manner in which each video depicts technology, humans, and human-machine interactions is analysed in the context of sociotechnical imaginaries to examine how the videos reflect attitudes relating to the ethics of automation and warfare. It is concluded that the videos present uncertainties and ambiguities about autonomous weapons as certainties and simple choices. Issues which are not covered may be as important as the material and imagery presented. Rather than adding to public understanding over the issues surrounding autonomous weapons, concerns are presented in a selective and sanitised manner which avoids controversy and ultimately manipulates the opinions of the viewer, contributing to the creation of a sociotechnical imaginary which downplays ethical concerns.
{"title":"Out of Sight, Out of Mind? Ethical Issues Relating to the Use of Autonomous Armed Drones in Promotional Videos","authors":"Peter Burt","doi":"10.1080/17526272.2022.2119662","DOIUrl":"https://doi.org/10.1080/17526272.2022.2119662","url":null,"abstract":"This article considers how autonomous drone systems are portrayed in three promotional videos published by military-industrial advocates of such technology. The videos are reviewed to explore ethical issues relating to armed drones and autonomous systems in warfare. The manner in which each video depicts technology, humans, and human-machine interactions is analysed in the context of sociotechnical imaginaries to examine how the videos reflect attitudes relating to the ethics of automation and warfare. It is concluded that the videos present uncertainties and ambiguities about autonomous weapons as certainties and simple choices. Issues which are not covered may be as important as the material and imagery presented. Rather than adding to public understanding over the issues surrounding autonomous weapons, concerns are presented in a selective and sanitised manner which avoids controversy and ultimately manipulates the opinions of the viewer, contributing to the creation of a sociotechnical imaginary which downplays ethical concerns.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"99 1","pages":"388 - 407"},"PeriodicalIF":0.4,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80914674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-29DOI: 10.1080/17526272.2022.2116192
Matthew Voice
This paper presents a cognitively oriented analysis of metaphorical and descriptive language, showing how an understanding of cognitive linguistics can be employed by scholars working on drone texts to enhance and support their analyses. Cognitive linguistics provides a powerful framework for understanding the conceptual structure of language, and the choices made by authors in the ways they choose to construe their experiences. Conceptual Blending Theory and Cognitive Grammar’s notion of construal are introduced as linguistic frameworks through which the ideological structures of drone discourses can be interrogated. Overall, it argues that approaches from cognitive linguistics offers valuable resources for understanding how common patterns in discourse (re)produce and resist ideological stances on drone warfare, and it provides example analyses from a range of sources to demonstrate how these particular frameworks can contribute to the analysis of language and ideology.
{"title":"Language, Cognition, and Drone Warfare: Applying Cognitive Linguistic Tools in the Critical Analysis of Drone Discourses","authors":"Matthew Voice","doi":"10.1080/17526272.2022.2116192","DOIUrl":"https://doi.org/10.1080/17526272.2022.2116192","url":null,"abstract":"This paper presents a cognitively oriented analysis of metaphorical and descriptive language, showing how an understanding of cognitive linguistics can be employed by scholars working on drone texts to enhance and support their analyses. Cognitive linguistics provides a powerful framework for understanding the conceptual structure of language, and the choices made by authors in the ways they choose to construe their experiences. Conceptual Blending Theory and Cognitive Grammar’s notion of construal are introduced as linguistic frameworks through which the ideological structures of drone discourses can be interrogated. Overall, it argues that approaches from cognitive linguistics offers valuable resources for understanding how common patterns in discourse (re)produce and resist ideological stances on drone warfare, and it provides example analyses from a range of sources to demonstrate how these particular frameworks can contribute to the analysis of language and ideology.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"110 1","pages":"425 - 443"},"PeriodicalIF":0.4,"publicationDate":"2022-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76042893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-09DOI: 10.1080/17526272.2022.2097774
Kristen Alexander, Kate Ariotti
In March 1944 seventy-six Allied prisoners of war escaped from Stalag Luft III. Nearly all were recaptured; fifty were later shot. This article examines what happened in the period between recapture and the interment of the dead prisoners' cremated remains at Stalag Luft III. It positions what came to be known as ‘the Great Escape’ as an event of deep emotional resonance for those who grieved and reveals the dual narrative they constructed to make sense of their comrades’ deaths. In discussing the iconography of the vault constructed by the camp community to house the dead POWs’ ashes, this article also suggests a dissonance in meaning between that arising from personal, familial grief and the Imperial War Graves Commission’s standardised memorial practice. Focusing on the Great Escape’s immediate aftermath from the perspective of the POWs themselves provides a more nuanced understanding of the emotional impact of this infamous event.
{"title":"Mourning the Dead of the Great Escape: POWs, Grief, and the Memorial Vault of Stalag Luft III","authors":"Kristen Alexander, Kate Ariotti","doi":"10.1080/17526272.2022.2097774","DOIUrl":"https://doi.org/10.1080/17526272.2022.2097774","url":null,"abstract":"In March 1944 seventy-six Allied prisoners of war escaped from Stalag Luft III. Nearly all were recaptured; fifty were later shot. This article examines what happened in the period between recapture and the interment of the dead prisoners' cremated remains at Stalag Luft III. It positions what came to be known as ‘the Great Escape’ as an event of deep emotional resonance for those who grieved and reveals the dual narrative they constructed to make sense of their comrades’ deaths. In discussing the iconography of the vault constructed by the camp community to house the dead POWs’ ashes, this article also suggests a dissonance in meaning between that arising from personal, familial grief and the Imperial War Graves Commission’s standardised memorial practice. Focusing on the Great Escape’s immediate aftermath from the perspective of the POWs themselves provides a more nuanced understanding of the emotional impact of this infamous event.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"12 1","pages":"332 - 353"},"PeriodicalIF":0.4,"publicationDate":"2022-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87807284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.1080/17526272.2022.2078542
Rosana Guber
This paper examines how artists create the past. It analyses the aeronautic works of art by Captain Exequiel Martínez as portrayed and used by the painter, the Argentine Air Force and the Argentine officers who took part of the air battle for the Malvinas/Falklands in 1982. Unlike the dominant views condemning the armed initiative of the last Argentine dictatorship (1976–83), this paper delves into the military worldview and reconstructs the premises through which the Argentine Air Force and a pilot-painter have managed to pay homage, acknowledge, and make visible the feats of the Argentine pilots against the British Task Force. Taking advantage of an anthropology of the production of history, the author unravels the process undergone by painter Martínez and the pilots portrayed in his paintings to turn Argentine defeat into visual evidence, solid experience and historical plausibility.
{"title":"Hyper-Realist Mirrors: Exequiel Martinez’s Oil Paintings as Testimonies of the Air Battle Over the Malvinas/Falkland Islands","authors":"Rosana Guber","doi":"10.1080/17526272.2022.2078542","DOIUrl":"https://doi.org/10.1080/17526272.2022.2078542","url":null,"abstract":"This paper examines how artists create the past. It analyses the aeronautic works of art by Captain Exequiel Martínez as portrayed and used by the painter, the Argentine Air Force and the Argentine officers who took part of the air battle for the Malvinas/Falklands in 1982. Unlike the dominant views condemning the armed initiative of the last Argentine dictatorship (1976–83), this paper delves into the military worldview and reconstructs the premises through which the Argentine Air Force and a pilot-painter have managed to pay homage, acknowledge, and make visible the feats of the Argentine pilots against the British Task Force. Taking advantage of an anthropology of the production of history, the author unravels the process undergone by painter Martínez and the pilots portrayed in his paintings to turn Argentine defeat into visual evidence, solid experience and historical plausibility.","PeriodicalId":42946,"journal":{"name":"Journal of War & Culture Studies","volume":"186 1","pages":"350 - 375"},"PeriodicalIF":0.4,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78733351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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