Terror on Our Screens: The Common Interest of Theatrical Terrorism

Abstract

It has become a truism to say that just as the internet can be used as powerful tool to disseminate knowledge and break down barriers across the globe, it can equally be abused to spread the messages of hate, intolerance and fear. Terrorist groups are the leading actors in today’s internet-based drama of terror: directing amateur executions and producing a wealth of other propaganda. However, such individuals and groups are not alone in having an interest in manipulating the general public via online media. On the contrary, a state’s political desire to implement intrusive counter-terrorist and crime-fighting methods needs the support of the public. As such, the careful handling of online terrorist material can assist these aims. There is perhaps no better example than the adoption of the “War on Terror” dialogue and the accompanying dramatic reminders of the threat that exists from terrorism. The media, on the other hand, have more obvious interests in the exploitation of online terrorist propaganda: ratings, readership and revenue. The recent brutal murder of soldier Lee Rigby on the streets of Woolwich which was swamped in theatricality provided the media with an inviting opportunity to further seize the world’s attention. As such, it could be said that terrorists, states and the media all have interests in manipulating and exaggerating the theatrics of terrorism.In this paper, it will be asked whether, despite the almost universal condemnation of contemporary terrorist methods which seek to disseminate propaganda across the internet, there actually exists a common interest between the various actors in the creation and exploitation of an atmosphere of theatrics. Carefully scrutinising the overlaps and interaction between these objectives will remain of vital interest if terror from all sources is to be defeated.