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George W. Bush has launched a revolution in American foreign policy. He has redefined how America engages the world, shedding the constraints that friends, allies, and international institutions impose on its freedom of action. He has insisted that an America unbound is a more secure America. How did a man once mocked for knowing little about the world come to be a foreign policy revolutionary? In America Unbound, Ivo H. Daalder and James M. Lindsay dismiss claims that neoconservatives have captured the heart and mind of the president. They show that George W. Bush has been no one's puppet. He has been a strong and decisive leader with a coherent worldview that was evident even during the 2000 presidential campaign. Daalder and Lindsay caution that the Bush revolution comes with significant risks. Raw power alone is not enough to preserve and extend America's security and prosperity in the modern world. The United States often needs the help of others to meet the challenges it faces overseas. But Bush's revolutionary impulse has stirred great resentment abroad. At some point, Daalder and Lindsay warn, Bush could find that America's friends and allies refuse to follow his lead. America will then stand alone-a great power unable to achieve its most important goals.

In Hijacking History, Liane Tanguay unravels the ideology behind an American enterprise unprecedented in scope, ambition, and brazen claim to global supremacy: the War on Terror. She argues that the fears, anxieties, and even the hopes encoded in American popular culture account for the public's passive acceptance of the Bush administration’s wars overseas and violation of many of the rights, privileges, and freedoms they claimed to defend. In her analysis, Tanguay critically examines the neoconservative contention that the current system of liberal-democratic capitalism represents the peak of human evolution - a claim that creates the impression of a \"post-historical\" age. Establishing a continuity between the \"post-historical\" imaginary and the attacks of 9/11, the book examines the links between shifting justifications for the war, renewed militarism, and capitalist globalization. Reviewing a wide range of media including Hollywood films, network television, and presidential rhetoric, Tanguay calls for a revival of politics in popular culture and rejects the politics of fear as disseminated by mass media. A timely retrospective on the War on Terror, Hijacking History examines popular representations of US military action and dissects both the logic and the aesthetics by which the dominant discourses strive to justify war, while revealing how some of those forces can ultimately contribute to an ideology of resistance.

Two decades after the fall of the Berlin Wall, why are the notable democracies of the United States, India, and Israel building massive walls and fences on their borders? Despite predictions of a borderless world through globalization, these three countries alone have built security barriers totaling an astonishing 5,700 kilometers in length. In this groundbreaking work, Reece Jones analyzes how these controversial walls were justified, their impact on those living behind them, and the long-term effects of the hardening of political boundaries. Border Walls is a bold, important intervention that demonstrates that the exclusion and violence necessary to secure the borders of the modern state often undermine the very ideals of freedom and democracy the barriers are meant to protect.

Contemporary international events, and indeed even the US presidential election, demonstrate the continuing need for debate and discourse over the direction and emphases of US foreign policy. Following the success of the original hardback publication, this revised and updated paperback re-conceptualizes the 'war on terrorism' and analyzes the nature of American domestic and international policy-making within the context of historical and structural constraints upon US policy. American Global Strategy and the 'War on Terrorism' addresses a wide range of themes that are crucial to understanding the 9/11 crisis and to formulating an affective American and global foreign and security policy to deal with that crisis. This study should be read by contemporary policy makers and scholars of foreign policy.

This book overturns existing understandings of the origins and futures of the War on Terror for the purposes of International Relations theory. It demonstrates why this is not a war in defence of the integrity of human life, but a war over the political constitution of life in which the limitations of liberal accounts of humanity are a fundamental cause of the conflict. The question of the future of humanity is posed by this war, but only in the sense that its resolution depends on our abilities to move beyond the limits of dominant understandings of the human and its politics. Theorising with and beyond the works of Foucault, Deleuze, Baudrillard, Virilio and Negri, this book examines the possibilities for such a movement. What forms does human life take, it asks, when liberal understandings of humanity are no longer understood as horizons to strive for, but impositions against which the human must struggle in order to fulfil its destiny? What forms does the human assume when war against liberal regimes becomes the determining condition of its possibility? Answers to such questions are pressing, this book argues, if we earnestly desire an escape from the current impasses of international politics.

Since the 9/11 attacks on U.S. soil, American citizenship has been redefined by the visual images associated with the Global War on Terror (GWOT). Rebecca A. Adelman contends that, in viewing images such as security footage of the 9/11 hijackers, film portrayals of the attacks and subsequent wars, memorials commemorating the attacks, and even graphics associated with increased security in airports, American citizens have been recast as militarized spectators, brought together through the production, circulation, and consumption of these visual artifacts. Beyond the Checkpoint reveals that the visual is essential to the prosecution of the GWOT domestically and abroad, and that it functions as a crucial mechanism in the ongoing formation of the U.S. state itself and an essential component of contemporary American citizenship. Tracing the connections between citizenship and spectatorship, and moving beyond the close reading of visual representations, this book focuses on the institutions and actors that create, monitor, and regulate the visual landscape of the GWOT. Adelman looks around and through common images to follow the complex patterns of practice by which institutions and audiences engage them in various contexts. In the process, she proposes a new methodology for studying visual cultures of conflict, and related phenomena like violence, terror, and suffering that are notoriously difficult to represent. Attending to previously unanalyzed dimensions of this conflict, this book illustrates the complexity of GWOT visual culture and the variegated experiences of citizenship that result as Americans navigate this terrain.

Over the last few years, Moustafa Bayoumi has been an extra inSex and the City 2playing a generic Arab, a terrorist suspect (or at least his namesake \"Mustafa Bayoumi\" was) in a detective novel, the subject of a trumped-up controversy because a book he had written was seen by right-wing media as pushing an \"anti-American, pro-Islam\" agenda, and was asked by a U.S. citizenship officer to drop his middle name of Mohamed. Others have endured far worse fates. Sweeping arrests following the terrorist attacks of September 11, 2001 led to the incarceration and deportation of thousands of Arabs and Muslims, based almost solely on their national origin and immigration status. The NYPD, with help from the CIA, has aggressively spied on Muslims in the New York area as they go about their ordinary lives, from noting where they get their hair cut to eavesdropping on conversations in cafés. InThis Muslim American Life, Moustafa Bayoumi reveals what the War on Terror looks like from the vantage point of Muslim Americans, highlighting the profound effect this surveillance has had on how they live their lives. To be a Muslim American today often means to exist in an absurd space between exotic and dangerous, victim and villain, simply because of the assumptions people carry about you. In gripping essays, Bayoumi exposes how contemporary politics, movies, novels, media experts and more have together produced a culture of fear and suspicion that not only willfully forgets the Muslim-American past, but also threatens all of our civil liberties in the present.

September 11th, 2001 remains a focal point of American consciousness, a site demanding ongoing excavation, a site at which to mark before and after “everything” changed. In ways both real and intangible the entire sequence of events of that day continues to resonate in an endlessly proliferating aftermath of meanings that continue to evolve. Presenting a collection of analyses by an international body of scholars that examines America's recent history, this book focuses on popular culture as a profound discursive site of anxiety and discussion about 9/11 and demystifies the day's events in order to contextualize them into a historically grounded series of narratives that recognizes the complex relations of a globalized world. Essays in Reframing 9/11 share a collective drive to encourage new and original approaches for understanding the issues both within and beyond the official political rhetoric of the events of the “The Global War on Terror” and issues of national security.

For most Americans, September 11, 2001, symbolized the moment when their security was altered. For Middle Eastern and Muslim Americans, 9/11 also ushered in a backlash in the form of hate crimes, discrimination, and a string of devastating government initiatives. This book provides the first comprehensive analysis of the impact of the post-9/11 events on Middle Eastern and Muslim Americans as well as their organized response. Through fieldwork and interviews with community leaders, Anny Bakalian and Mehdi Bozorgmehr show how ethnic organizations mobilized to demonstrate their commitment to the United States while defending their rights and distancing themselves from the terrorists.

This interdisciplinary study of how 9/11 and the ‘war on terror’ were represented during the Bush era, shows how culture often functioned as a vital resource, for citizens attempting to make sense of momentous historical events that frequently seemed beyond their influence or control. Illustrated throughout, the book discusses representation of 9/11 and the war on terror in Hollywood film, the 9/11 novel, mass media, visual art and photography, political discourse, and revisionist historical accounts of American ‘empire’, between the September 11 attacks and the Congressional midterm elections in 2006. As well as prompting an international security crisis, and a crisis in international governance and law, David Holloway suggests the culture of the time also points to a ‘crisis’ unfolding in the institutions and processes of republican democracy in the United States. His book offers a cultural and ideological history of the period, showing how culture was used by contemporaries to debate, legitimise, qualify, contest, or repress discussion, about the causes, consequences and broader meanings of 9/11 and the war on terror.