Tag: hurt locker

The Hurt Locker

When I heard that the “Hurt Locker,” a drama set in the midst of the Iraq War, was nominated for several Oscars, I was intrigued. Americans have not shown much interest as a people in either of the current official wars and even less interest in documentaries about and dramas set in these conflicts. My initial hunch was that this film, was selected to balance out “Avatar”, the narrative of which clearly questions militarism and imperialism (while also reveling in astounding levels of mindless violence). So I assumed that “The Hurt Locker” would make a conservative counter-argument which justified the necessity of this war of choice. After finally seeing it, I was stunned that this film was nominated for any awards.

I would argue that the film is certainly racist/orientalist in the way in which the Iraqi population is portrayed. Iraqis are depicted as either villainous or as an undifferentiated mass of passive spectators and victims. There are no images of Iraqi women which do not depict them either wailing or otherwise “hysterical”. The English speaking Iraqi men, all of whom have bit parts, are completely emasculated. The American soldiers are generally depicted as brave (if insanely reckless in a cowboy fashion) and highly competent.

The one chance that the writer and director had to stage a dialog between the protagonist and an Iraqi professor is completely squandered as the professor’s “hysterical” wife throws the protagonist-intruder out of her home. Perhaps I should be thankful that the writer and director did not choose to try to speak for “the other.”

There is the requisite paternal engagement with an Iraqi child. However, the child apparently is indistinguishable to the protagonist from all of the other masses of poor Iraqi children who chase and throw rocks at military vehicles.

The film may not be quite as aggressively racist as “Blackhawk Down,” “300,” or “Zulu,” the defining films in terms of racist war genre, but it is certainly a contender. There are thankfully no scenes in which a brown or black horde attacks an outnumbered group of mainly white heroes. In terms of the anti-Arab content, the film is not as bad as “True Lies” or any of the worst Hollywood films in the anti-semitic/anti-Arab genre, mainly because it does not really engage “the other” at all… so none of the more complex racist tropes are brought forth. Nevertheless, the film does continue the long tradition documented in Reel Bad Arabs.

It will be argued that the film is true to the perspective of the main characters. The film shows how narrowly focused the life of the average soldier is. Of course, we do not get a portrayal of the level of boredom that often accompanies military duty. War is depicted as an exciting adventure, particularly in contrast to the bland challenges of raising a child and maintaining a household. So I question its realism. In showing us how soldiers view Iraqis and the Iraq War, it also gives the audience permission to see Iraqis (and by extension the Middle East) in the same uncritical way.

Does any of this matter, particularly in a forum where we discuss international relations? I think it does. War films become a part of a nation’s memory and they have the potential to spark debate and dialog about the causes of war which shapes policy. Moreover, war films are often central to the cult of militarism. The “Hurt Locker” does nothing to interrogate the causes, meaning, or consequences of war, it dehumanizes the people living under occupation. As such it merely serves as propaganda for the war machine. Perhaps there should be a separate Oscar for this genre.

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“Men” at “War”: Reflections on “The Hurt Locker”


Tantalized by Eric Randolph’s glowing review, I watched The Hurt Locker this past week. I can see what Eric means by the film being almost in its own genre – a film about the everyday work of soldiering during an occupation, with no grand narrative about the rightness or wrongness of the war. But in my view, that is it’s own grand narrative: a study in what soldiering is becoming, and the implications for soldiers and for society.

So I viewed this film as an artifact of an emerging era in civil-military relations, an indicator of the kind of war stories we are currently telling ourselves as a society. How divergent is this film from earlier constructions? I noticed two things that were very interesting.

The first was a near-absolute absence of women in the film, other than the typical waiting-wife. Yet a significant number of those serving in Iraq are women. The NYTimes reported recently that this critical mass of female fighters “has changed the way the US military goes to war… reshaped life on bases across Iraq and Afghanistan… cultivated a new generation of women with a warrior’s ethos – and combat experience… and have done so without the disruption of unit coehsion that some feared would unfold.” Given those real-life changes, it’s interesting that this “new kind of war movie” would rely on such an age-old script about war being essentially men’s work, the role of women in a wartime economy to wait at home raising babies in frustration alone.

But with all the manly bodies dominating the screen, the second thing I noticed was the raw emotionality of the film. This was not a film about militarized maculinity per se but about individual men struggling with and against such an archetype and leaning on one another emotionally – to the point of a touch-feeliness we usually see reserved for chick flicks in the US. Is this frame is meant to invoke recent changes in military policy (for example, struggling with morale problems, suicides, domestic violence and divorce, the US Army is now requiring every soldier to take intensive training in emotional resiliency)? Or is it simply part of the director’s effort to recast military life and the coping skills required to survive it?

Either way, of the two trends – the integration of women into combat roles and the integration of attributes associated with the feminine into our concepts of warriorhood – I think the latter is much more significant in societal terms, and I was glad to see it reflected in the portrayals here.

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