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Surveillance Cinema$
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Catherine Zimmer

Print publication date: 2015

Print ISBN-13: 9781479864379

Published to NYU Press Scholarship Online: September 2016

DOI: 10.18574/nyu/9781479864379.001.0001

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Conclusion

Conclusion

Chapter:
(p.209) Conclusion
Source:
Surveillance Cinema
Author(s):

Catherine Zimmer

Publisher:
NYU Press
DOI:10.18574/nyu/9781479864379.003.0007

The conclusion reflects on the continued developments in both cinematic and television surveillance narratives and surveillance culture, noting that the surveillance tropes discussed in the book have become so commonplace that they are almost unavoidable, particularly in certain genres. The conclusion also points out that the line between fictional and real-world narratives of surveillance has become increasingly blurred, referencing such overlaps as the media storm around Edward Snowden that repeatedly characterized him as a Jason Bourne–like fugitive; the close relationship between the place of liberal feminism in the “war on terror” and the politics of a show such as Homeland; and the acquittal of George Zimmerman for the murder of teenager Trayvon Martin, which echoed the acquittal of the police officers in the Rodney King beating. Suggesting that the very mild optimism of the preceding chapter was perhaps misplaced in the face of the growing ubiquity and violence of surveillance culture, the conclusion maintains that while surveillance is just one aspect of the legal-political-economic systems behind the continuing history of violence, it is perhaps one of the most significant elements of the narratives emerging from and defining those systems, narratives that have increasingly real consequences.

Keywords:   Edward Snowden, liberal feminism, Homeland, narrative, surveillance culture, Trayvon Martin, violence, war on terror

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