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This article examines the work of three artists – Harun Farocki, Hito Steyerl and Rabih Mroué – who in different ways mobilize the cinematic device of ‘shot/countershot’ in two distinct post-cinematic contexts (the moving image installation and the performance lecture) as a tool for scrutinizing images of war and violence from divergent historical, socio-economic, geopolitical and ethical perspectives. In returning to and reworking this classical cinematic device as an experimental and essayistic mode of montage and critical reflection, all three artists, as I argue, variously seek to counter the ideological naturalization and interpretive framing of representations of war and violence under conditions of digitalization and globalization, as well as to interrogate the interconnections between forms of direct, symbolic and systemic violence.
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https://doi.org/10.1386/pop_00061_1 Published content will be available immediately after check-out or when it is released in case of a pre-order. Please make sure to be logged in to see all available purchase options.