Titlebook: Drones and the Annihilation-Image in Contemporary Warfare ; The Case of ‘Eye in Gabriel F.Caetano Book 2024 The Editor(s) (if applicable)

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https://doi.org/10.1007/978-90-313-7241-6ortance in the creative process that explores the entanglement between Washington and Hollywood. In the first instance, I argue that the way the discipline of International Relations approaches cinema must go beyond using images as a mirror of reality, that is, in their representational form.

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https://doi.org/10.1007/3-540-29924-6n repertoire of the IR discipline. Among the concepts mobilized by IR to try to explain or understand the phenomena of international politics, these categories, as we will see, have historically occupied no more than a place on the margins of the field.

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Richard Hautmann,Hartwig Hulandn” or a definitive, divine, mythical, or privileged position (Said, E. W. in Beginnings: Intention and method. Columbia University Press, 1985) on how and when the drone emerged. It is worth noting that the drone as an artifact is the result of socio-technical fruition that, for centuries, has infor

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https://doi.org/10.1007/978-3-642-70313-3antasmagoria, a hallucination… it can also be a practical, haptic effect, a symptom, a living structure. The fact is that images permeate all social layers and manifest in various political phenomena, including, of course, war.

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Urticarial Vasculitis Syndrome, Sky (2015) to demonstrate, through the concept of the ., how drone violence moves from representation to destruction. In annihilation-image, ways of seeing and forms of annihilating are superimposed; the image in/of war is no longer passive and reflective, but active and diffractive, suggesting tha

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