With the rise of drones and computer-controlled weapons, the line between war and video games continues to blur. In this book, the authors trace how the realities of war are deeply inflected by their representation in popular entertainment. War games and other media, in turn, feature an increasing number of weapons, tactics, and threat scenarios from the War on Terror. While past analyses have emphasized top-down circulation of pro-military ideologies through government public relations efforts and a cooperative media industry, The Military-Entertainment Complex argues for a nonlinear relationship, defined largely by market and institutional pressures. Tim Lenoir and Luke Caldwell explore the history of the early days of the video game industry, when personnel and expertise flowed from military contractors to game companies; to a middle period when the military drew on the booming game industry to train troops; to a present in which media corporations and the military influence one another cyclically to predict the future of warfare. In addition to obvious military-entertainment titles like AmericaÕs Army, Lenoir and Caldwell investigate the rise of best-selling franchise games such as Call of Duty, Battlefield, Medal of Honor, and Ghost Recon. The narratives and aesthetics of these video games permeate other media, including films and television programs. This commodification and marketing of the future of combat has shaped the publicÕs imagination of war in the post-9/11 era and naturalized the U.S. PentagonÕs vision of a new way of war.

Here is the new, hip, high-tech military-industrial complex--an omnipresent, hidden-in-plain-sight system of systems that penetrates all our lives. From iPods to Starbucks to Oakley sunglasses, historian Nick Turse explores the Pentagon's little-noticed contacts (and contracts) with the products and companies that now form the fabric of America. Turse investigates the remarkable range of military incursions into the civilian world: the Pentagon's collaborations with Hollywood filmmakers; its outlandish schemes to weaponize the wild kingdom; its joint ventures with the World Wrestling Federation and NASCAR. He shows the inventive ways the military, desperate for new recruits, now targets children and young adults, tapping into the "culture of cool" by making "friends" on MySpace. We are a long way from Eisenhower's military-industrial complex: this is its twenty-first-century progeny.--From publisher description.

Virtuous War is the first book to map the emergence and judge the consequences of a new military-industrial-media-entertainment network. James Der Derian takes the reader from a family history of war and genocide to new virtual battlespaces in the Mojave Desert, Silicon Valley, Hollywood and American universities. He tracks the convergence of cyborg technologies, video games, media spectacles, war movies, and do-good ideologies that produced a chimera of high-tech, low-risk ‘virtuous wars’. In this newly updated edition, he reveals how a misguided faith in virtuous war to right the wrongs of the world instead paved the way for a flawed response to 9/11 and a disastrous war in Iraq. Blinded by virtue, emboldened by technological superiority, seized by a mimetic terror, the US blundered from one foreign fiasco to the next. Taking the long view as well as getting up close to the war machine, Virtuous War provides a compelling alternative to the partisan politics, instant analysis and technical fixes that currently bedevil US national security policy.

The vast, and vastly influential, American military machine has been aided and abetted by cinema since the earliest days of the medium. The US military realized very quickly that film could be used in myriad ways: training, testing, surveying and mapping, surveillance, medical and psychological management of soldiers, and of course, propaganda. Bringing together a collection of new essays, based on archival research, Wasson and Grieveson seek to cover the complex history of how the military deployed cinema for varied purposes across the the long twentieth century, from the incipient wars of US imperialism in the late nineteenth century to the ongoing War on Terror. This engagement includes cinema created and used by and for the military itself (such as training films), the codevelopment of technologies (chemical, mechanical, and digital), and the use of film (and related mass media) as a key aspect of American "soft power," at home and around the world. A rich and timely set of essays, this volume will become a go-to for scholars interested in all aspects of how the military creates and uses moving-image media.

An exploration of the production, transmission, and mutation of affective tonality—when sound helps produce a bad vibe. Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.

An expert on military innovation reveals how video games are revolutionizing warfare from the battlefield to the highest echelons of the Pentagon.

Joystick Soldiers is the first anthology to examine the reciprocal relationship between militarism and video games. War has been an integral theme of the games industry since the invention of the first video game, Spacewar! in 1962.While war video games began as entertainment, military organizations soon saw their potential as combat simulation and recruitment tools. A profitable and popular relationship was established between the video game industry and the military, and continues today with video game franchises like America’s Army, which was developed by the U.S.Army as a public relations and recruitment tool. This collection features all new essays that explore how modern warfare has been represented in and influenced by video games. The contributors explore the history and political economy of video games and the "military-entertainment complex;" present textual analyses of military-themed video games such as Metal Gear Solid; and offer reception studies of gamers, fandom, and political activism within online gaming.