First, we suggest that attention needs to be paid to how images in films are put together. In particular, we argue that a greater recognition and understanding of the visuality of the geopolitics of film is required. In discussing the narrative and discursive elements of the film, and their relationship to the geopolitics of the war on terror, we also seek to build on recent conceptual developments in popular geopolitics. Set in Saudi Arabia, the film centres around an FBI-led investigation into a terrorist attack on an American civilian compound. We look at one such film in particular, the 2007 film The Kingdom, directed by Peter Berg. During this time there has been a surprisingly varied and wide-ranging output of mainstream US movies that take either 9/11, or the consequential ‘war on terror’, as their primary context.
This paper explores the popular geopolitics of Hollywood cinema in the years since the terror attacks on New York City and Washington, DC, on September 11, 2001.
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