The New Face of Global Hollywood: Black Hawk Down and the Politics of Meta-Sovereignty

This paper uses Ridley Scott’s 2001 film blockbuster Black Hawk Down to examine the claim that popular film is the ‘newest component of sovereignty’. While the topic of the film – the 1993 UN/US intervention in Somalia – lends itself to straightforward politicisation, this paper is equally interested in the film’s production history and its reception by global audiences. While initial reactions to the film focused on its ideological commitments (e.g. racism, collusion between Hollywood and the Pentagon, post-11 September patriotism), these readings continually posed an imagined ‘America’ against ‘the world’. This paper argues that Black Hawk Down is not about sovereignty as traditionally conceived, that is, about national interest shaping global affairs. Rather, Black Hawk Down articulates, and is articulated by, a new and emerging global order that operates through inclusion, management and flexibility. Drawing on recent theoretical debates over this new logic of rule, this paper illustrates how Black Hawk Down invoked much more diffuse, complex and deterritorialized categories than national sovereignty. In effect, Scott’s film goes beyond traditional notions of sovereignty altogether: its production, signification and reception deconstruct simple notions of ‘America’ and ‘the world’ in favour of what Hardt and Negri call ‘Empire’, what Zizek calls ‘post-politics’, and what we refer to as ‘meta-sovereignty’.

Crime, justice and the legitimacy of military power in the international sphere

This article examines how a discourse of crime and justice is beginning to play a significant role in justifying international military operations. It suggests that although the coupling of war with crime and justice is not a new phenomenon, its present manifestations invite careful consideration of the connection between crime and political theory. It starts by reviewing the notion of sovereignty to look then at the history of the criminalisation of war and the emergence of new norms to constrain sovereign states. In this context, it examines the three ways in which military force has recently been authorised: in Iraq, in Libya and through drones in Yemen, Pakistan and Somalia. It argues the contemporary coupling of military technology with notions of crime and justice allows the reiteration of the perpetration of crimes by the powerful and the representation of violence as pertaining to specific dangerous populations in the space of the international. It further suggests that this authorises new architectures of authority, fundamentally based on military power as a source of social power.