par Brosteaux, Déborah 
Référence Tijdschrift voor filosofie, 79, page (717-745)
Publication Publié, 2017
Référence Tijdschrift voor filosofie, 79, page (717-745)
Publication Publié, 2017
Article révisé par les pairs
| Résumé : | Cinematographic representations of new wars share a common trait with theirown object: an occultation of the enemy. The principle of reciprocity has beenlargely evacuated from warfare on a political and strategic level. Similarly, the‘great cinema’ tends to reduce its war narrative to the American perspective, andthus to obliterate the enemy’s perspective. The war narrative ends up groundingitself in a war experience closed in upon itself. This also holds for critical warmovies, thereby weakening their own critical capacities. The present study isbased on movies depicting new wars, from Vietnam to present-day drone strikes.It aims to grasp the different ways through which the experience of war consti-tutes itself in the absence of alterity. In doing so, the experience of war tends tomiss itself. The article questions the critical power of the narration of an experi-ence confronting its own void. |
