By examining news and documentary media produced since September 11, 2001, Vavrus demonstrates that news narratives that include women use feminism selectively in gender equality narratives. She ultimately asserts that such reporting advances post-feminism, which, in tandem with banal militarism, subtly pushes military solutions for an array of problems women and girls face. 

By focusing on how the idea of heroism on the battlefield helped construct, perpetuate, and challenge racial and gender hierarchies in the United States between World War I and the present, Warring over Valor provides fresh perspectives on the history of American military heroism. 

By focusing on how the idea of heroism on the battlefield helped construct, perpetuate, and challenge racial and gender hierarchies in the United States between World War I and the present, Warring over Valor provides fresh perspectives on the history of American military heroism. 

In the American popular imaginary, the Second World War remains the prime example of American virtue—the country is typified by individual and collective heroism. Destructive Sublime complicates the oversimplified and commonly held view that film and video portray the war in ways that are conservative, both politically and aesthetically.  

Through the Crosshairs traces the genealogy of the weaponized gaze—camera footage framed from the perspective of a military drone, a descending smart bomb, or a sniper’s telescopic sights. Tracking these images across a variety of media, including news reports, action movies, and video games, Roger Stahl explores how they have influenced public perceptions.  

At War offers essays addressing the central issues in the new military history—ranging from diplomacy and the history of imperialism to the environmental issues that war raises and the ways that war shapes and is shaped by discourses of identity, to questions of why and how U.S. wars have been represented in the media.  

Imperial Affects is the first sustained account of American action-based cinema as melodrama. From the earliest war films through the Hollywood Western and the late-century action cinema, imperialist violence and mobility have been produced as sites of both visceral pleasure and moral virtue.

In/Visible War addresses a paradox of twenty-first century American warfare. The editors examine how the contemporary visual American experience of war is ubiquitous and utterly present in public, popular culture, and yet war is simultaneously invisible or absent; we lack a lived sense that “America” is at war.  
 

In/Visible War addresses a paradox of twenty-first century American warfare. The editors examine how the contemporary visual American experience of war is ubiquitous and utterly present in public, popular culture, and yet war is simultaneously invisible or absent; we lack a lived sense that “America” is at war.