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• The Hurt Locker could be seen as a traditional war movie, and as an ‘anti-war’ film. Many critics identified its lack of political positioning, however most war movies focus on the heroism of the soldiers rather than the motivations of the politicians and generals. Many ex-service men and women applauded its ‘honouring’ of soldiers
An intense action thriller set in Iraq, The Hurt Locker concerns the actions of three soldiers responsible for one of the most dangerous and unpredictable jobs in war: bomb disposal.
This article addresses two Iraq War films, The Hurt Locker (Bigelow 2008) and In the Valley of Elah (Haggis 2007), through the lens of trauma theory. Uniquely, it engages with Slavoj Žižek’s
The article approaches The Hurt Locker, an enthusiastically-received ‘critical’ film, as a symptom of today’s prevailing cultural and political codes. First we dwell on the homologies between the state of exception and the narrative logic of the film, including its reflection on the banalization of exception.
This book is an analysis of The Hurt Locker, of its stylistic and narrative devices, of its cultural impact, of its reception, of its relationship to the genre and ultimately of what it is able to tell us about a war which was officially brought to an end by President Barack Obama on the 18 December 2011, but is one which still continues to be ...
The Hurt Locker shows the paranoia, rage, and brutal recklessness of soldiers trapped in the downward death spiral of the Iraq war: the American soldiers fighting the very people they had once attempted to liberate. It sets itself up as an anti-war film.
2 lip 2019 · In this vibrant and dynamic book-length study drawing on a broad tapestry of research, Terence McSweeney offers an exploration of The Hurt Locker (2009), its stylistic and narrative devices, its cultural impact, its reception, and its relationship to the genre of the war film.
