Abstract
World War II generated a series of now-defunct assumptions about how war is produced, fought, and ended. However problematic these assumptions, they have been replicated in popular cultural representations of war – from Steven Spielberg’s Saving Private Ryan through to Kathryn Bigelow’s The Hurt Locker – illustrating their tenacity and hold on the contemporary imagination. In reality, military epistemology and ontology must move forward to embrace complexity, ambiguity and uncertainty in contemporary conflict, recognizing the elusive and illusory search for fixed solutions.
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