Abstract
The global war on terror (GWOT) is undoubtedly the most recent case where a government authorized ‘enhanced interrogation techniques’, a euphemism for torture. In addition to shocking stories and photographs from Guantánamo, Abu Ghraib and CIA black site prisons, popular culture assists in the production of torture’s public image and indicates a site of norm contestation. Therefore, the aim of this article is threefold. First, the author shows that Zero Dark Thirty (2012, dir. Kathryn Bigelow) is constitutive for the public image of torture and its meaning-in-use. Second, she argues that the film’s representation of torture works as a popular site of contesting the anti-torture norm. Finally, she reflects on the continuum between popular culture and the politics of torture.
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