A copy of this work was available on the public web and has been preserved in the Wayback Machine. The capture dates from 2019; you can also visit the original URL.
The file type is
Based on a close reading of Ridley Scott's war film Black Hawk Down (USA 2001; BHD), the present article investigates the formal properties through which a certain strain of war and action movies discursively constitutes the other – the enemy – as less than human. I develop the argument that the emergent relation between friend and foe in these films can be read through the concept of the border as an epistemological barrier that keeps the other incomprehensible, inaccessible, and ultimatelydoi:10.1515/nor-2017-0114 fatcat:fuuu6ipshzh7npespfcbs73qli