Drone-dronningen: Voyeurisme, intimitet og paranoia i tv-serien Homeland
DOI:
https://doi.org/10.7146/politik.v20i1.27645Resumé
In the age of drone warfare, soldiers are no longer confronted with their opponents face- to-face on the battlefield. Instead, the practice of killing by remote control have shaped a new kind of war experience: Namely, one in which the drone operators are at the same time far and close, geographical distanced and emotional present; an experience of ‘voyeuristic intimacy’ as Derek Gregory has pointed out. But, as the paper points out, it is also a ‘split experience’ producing a kind of bipolarity and manic paranoia. From a cultural perspective, the paper explores how this split, or even ‘shattered,’ experience is represented in Showtime’s television series Homeland as a specific ‘drone imaginary.’ Focusing on especially the fourth season of the series, in which the bipolar CIA agent, Carrie Mathison or ‘The Drone Queen,’ is in charge of a drone bastion in Afghanistan, the paper suggests seeing The Drone Queen as an embodiment of this experience. In her manic endeavour to see ‘the bigger picture,’ but without missing any crucial details, she becomes a symptom of a larger political culture after 9/11, a culture marked by paranoia and control, in which drones are at least one of the most significant examples.
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