![]() The genre of the war film has long been a staple of American film making and movie watching, functioning as documentary witnessing, popular propaganda, and/or resistance or critique of specific conflicts, all the while reflecting audiences’ attitudes while simultaneously constructing arguments about current and future combat and warfare. Such filmmaking and movie-watching should be replaced with a critical posthumanism that challenges the relationships between the audience and their technologies, in addition to providing critical tools that can be applied to understanding and potentially resist modern warfare.Ĭhapter 1: Introduction – Virtual WeaponryĬhapter 2: The Hard Technological Body in the Exoskeletal SoldierĬhapter 3: The Soldier Interfaces on the Digitally Augmented BattlefieldĬhapter 4: War Films, Combat Simulators and The Absent Virtual SoldierĬhapter 5: Ender’s War Games: Drones, Data and the Simulation of War as Weapon and TacticĬhapter 6: The Civilian Soldiers of CyberwarfareĬonclusion: What Might a War Film Look like Going Forward? ![]() The book catalogues and analyzes representations of a militarized Internet in popular Hollywood cinema, arguing that such illustrations of digitally networked technologies promotes an unhealthy transhumanism that weaponizes the relationships between the biological and technological aspects of that audience, while also hierarchically placing the “human” components at the top. This book examines the convergent paths of the Internet and the American military, interweaving a history of the militarized Internet with analysis of a number of popular Hollywood movies in order to track how the introduction of the Internet into the war film has changed the genre, and how the movies often function as one part of the larger Military-Industrial- Media-Entertainment Network and the Total War Machine.
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