Interfaces of identity: Oriental traitors and telematic profiling in 24

Camera Obscura

Volumn 24, Issue 1, 2009, Pages 109-133

  Nakamura, Lisa ^a,b  

^a Institute of Communication Research   (United States)

^b UNIVERSITY OF ILLINOIS AT URBANA CHAMPAIGN   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 68549099624     PISSN: 02705346     EISSN: 15291510     Source Type: Journal    
DOI: 10.1215/02705346-2008-016     Document Type: Review

References (41)

1. "A Changing World," US Air Force, www.airforce.com/ achangingworld/, last accessed 13 July 2008
2. Simon A. Cole, Suspect Identities: A History of Fingerprinting and Criminal Identification (Cambridge, MA: Harvard University Press, 2001), 163
3. John Kenneth Muir, Terror Television: American Series, 1970-1999 ( Jefferson, NC: McFarland, 2001)
4. and Terror Television: The Rise of Al-Jazeera and the Hate America Media (writ. Cliff Kincaid, prod. Roger Aronoff, Accuracy in Media, US, 2006)
5. For another example, see Coalition against Terrorist Media, www .stopterroristmedia.org/, last accessed 10 April 2008
6. Manuel Castells, The Rise of the Network Society, 2nd ed. (Oxford: Blackwell, 2000), 148
7. Vincent Mosco, The Digital Sublime: Myth, Power, and Cyberspace (Cambridge, MA: MIT Press, 2004), 22
8. See David Lyon, ed., Surveillance as Social Sorting: Privacy, Risk, and Digital Discrimination (London: Routledge, 2003)
9. and Torin Monahan, Surveillance and Security: Technological Politics and Power in Everyday Life (New York: Routledge, 2006)
10. See Lisa Parks, "Points of Departure: The Culture of US Airport Screening," Journal of Visual Culture 6 (2007): 183-200
11. See Luc Pauwels, Visual Cultures of Science: Rethinking Representational Practices in Knowledge Building and Science Communication (Hanover, NH: Dartmouth College Press, 2006)
12. John Tagg, The Burden of Representation: Essays on Photographies and Histories (Minneapolis: University of Minnesota Press, 1993), 63
13. See as well Allan Sekula, "The Body and the Archive," October 39 (1986): 3-64
14. See Fatimah Tobing Rony, The Third Eye: Race, Cinema, and Ethnographic Spectacle (Durham, NC: Duke University Press, 1996)
15. Leela Fernandes, "The Boundaries of Terror: Feminism, Human Rights, and the Politics of Global Crisis," in Just Advocacy? Women's Human Rights, Transnational Feminisms, and the Politics of Representation, ed. Wendy S. Hesford and Wendy Kozol (New Brunswick, NJ: Rutgers University Press, 2005), 66
16. Tom Gunning, "An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator," in Viewing Positions: Ways of Seeing Film, ed. Linda Williams (New Brunswick, NJ: Rutgers University Press, 1997), 118
17. See Andrew Darley, Visual Digital Culture: Surface Play and Spectacle in New Media Genres (London: Routledge, 2000)
18. and Jay David Bolter, Richard Grusin, and NetLibrary Inc., Remediation: Understanding New Media (Cambridge, MA: MIT Press, 1999)
19. Castells, Rise of the Network Society, 131
20. Herbert Gans, "The Possibility of a New Racial Hierarchy," in The Cultural Territories of Race: Black and White Boundaries, ed. Michèle Lamont (Chicago: University of Chicago Press, 1999), 383
21. Clive Norris, "From Personal to Digital: CCTV, the Panopticon, and the Technological Mediation of Suspicion and Social Control," in Lyon, Surveillance as Social Sorting, 265
22. William J. Mitchell, The Reconfigured Eye: Visual Truth in the Post-photographic Era (Cambridge, MA: MIT Press, 1994)
23. As Mitchell Gray writes, "facial recognition also has the ability to reach quickly into the past for information, dramatically extending the effective temporal scope of surveillance data analysis" (Gray, "Urban Surveillance and Panopticism: Will We Recognize the Facial Recognition Society?" Surveillance and Society 1 [2003]: 317)
24. Thus FRSs extend the scope of television programming's temporality, a key modification to what Tiziana Terranova claims is television's "historical legacy" as a "technology for the construction of national identities" (Terranova, "Free Labor: Producing Culture for the Digital Economy," Social Text, no.63 [2000]: 46)
25. Shoshana Magnet, "Visualizing Security: Digital Surveillance and the Body" (paper presented at the annual meeting of the National Communication Association, San Antonio, TX, November 2006)
26. See as well Kelly A. Gates, "Biometrics and Post-9/11 Technostalgia," Social Text, no.83 (2005): 35-53
27. Gates, "Identifying the 9/11 'Faces of Terror,' " Cultural Studies 20 (2006): 417-40
28. Gates and Shoshana Magnet, "Communication Research and the Study of Surveillance," Communication Review 10 (2007): 277-93
29. and Heather Murray, "Monstrous Play in Negative Spaces: Illegible Bodies and the Cultural Construction of Biometric Technology," Communication Review 10 (2007): 347-365
30. Gray, "Urban Surveillance," 325
31. Jasbir K. Puar, Terrorist Assemblages: Homonationalism in Queer Times (Durham, NC: Duke University Press, 2007), xx
32. Edward W. Said, Orientalism (New York: Vintage, 1979), 74
33. Junaid Rana, "The Story of Islamophobia," Souls: A Critical Journal in Black Politics, Culture, and Society 9 (2007): 153
34. Gunning, "Aesthetic of Astonishment," 123
35. Tara McPherson, "Reload: Liveness, Mobility, and the Web," in The Visual Culture Reader, ed. Nicholas Mirzoeff (London: Routledge, 2002), 464. Televisual platforms matter here as well. TiVo watchers of 24 navigate the program both temporally - skipping, freezing, slowing - and spatially as they move or shuffle between interactive and viewing windows
36. The televisual style of 24 is defined partly by its distinctive use of multiple screens. Michael Allen and Deborah Jermyn note that some of these screens are digitally surveillant ones. Allen claims that 24′s "split-screen aesthetic can also immediately be seen as a representation of the multiscreen surveillance technologies that are central to the operations of both CTU and the enemies it is attempting to defeat" (Allen, "Divided Interests: Split-Screen Aesthetics in 24," in Reading 24: TV against the Clock, ed. Steven Peacock [London: I. B. Tauris, 2007]
37. Similarly, Jermyn argues that the "multiple-image screen" embodies an "aesthetic through which some of the core (and arguably topical) themes and issues raised by the programme, such as contemporary urban paranoia, political urgency, surveillance and 'infiltration' anxieties, can be powerfully evoked" (Jermyn, "Reasons to Split Up: Interactivity, Realism, and the Multiple-Screen Image in 24," in Peacock, Reading 24, 57)
38. See Laura Grindstaff, The Money Shot: Trash, Class, and the Making of TV Talk Shows (Chicago: University of Chicago Press, 2002). It is important to note, however, that while FRSs exploit the discovery of sameness or congruence between two images, makeover shows exploit the differences
39. Leti Volpp, "The Citizen and the Terrorist," UCLA Law Review 49 (2002): 1576
40. Lisa Lowe, Immigrant Acts: On Asian American Cultural Politics (Durham, NC: Duke University Press, 1996), 5
41. Volpp, "Citizen and the Terrorist," 1587