This thesis considers images of the falling body after the terrorist attacks of 11 September 2001, starting with Associated Press photographer Richard Drew’s photograph of a person falling to their death from the north tower of the World Trade Center. From this specific photograph, this thesis follows various intersecting lines in what I am calling a meshwork of falling-body images. Consequently, each chapter encounters a wide range of examples of falling: from literature to films, personal websites to digital content, and immersive technologies to artworks. Rather than connecting these instances like nodes, this thesis is more concerned with exploring lines of relation and the way the image moves along these lines. This thesis will argue that the falling-body image offers an alternative topology of the attacks: as enmeshed in the unfolding lines of life of web users, artists, directors and writers alike. In this way, this thesis outlines the ways we have lived with the image of falling, and the event itself, and how we continue to experience its unfolding consequences.

This thesis is about the depiction of the damaged male in contemporary American war films in the period 1990 to 2010. All the films in this thesis deploy complex strategies but induce simple and readily accessible pleasures in order to mask, disavow or displace the operations of US imperialism. It is my argument that the premier emotive trope for emblematising and offering up the damaged male as spectacle and political tool is the American war film. I also argue that masochistic subjectivity (and spectatorship) is exploited in these films, sometimes through using it as a radical transformative tool in order to uncover the contradictions and abuses in US imperial power, but mostly through utilizing its distinct narrative and aesthetic qualities in order to make available to spectators the pleasures of consuming these images, and also to portray the damaged male as a seductive and desirable subjectivity to adopt. The contemporary war film offers up fantasies of imperilled male psychologies and then projects these traumatic (or “weak”/“victimised”) states into the white domestic and suburban space of the US. Accordingly this enables identification with the damaged male, and all his attendant narratives of dispossession, innocence, and victimhood, and then doubles and reinforces this identification by threatening the sanctity and security of the US homeland. My argument builds towards addressing ethical questions of spectatorial passivity and culpability that surround our engagement with global media, and mass visual culture in the context of war. I ultimately identify ethical spectatorship of contemporary war films as bolstering a neo-liberal project advancing the “turn to the self”, and hence audiences could unwittingly be engaged in shoring up white male ethno-centricity and the attendant forces of US cultural and geopolitical imperialism.

This study is concerned with the sexual abuse of enslaved women and girls by white men in the antebellum South. Interviews conducted by the Federal Writers’ Project in the 1930s are studied alongside nineteenth-century narratives of the formerly enslaved in order to make calculations of the scale of abuse in the South, but also to discover which conditions, social spaces and situations were, and possibly still are, most conducive to the sexual abuse of women and girls. This thesis is separated into two parts. Part One establishes a methodology for working with testimony of the formerly enslaved and determines the scale of sexual abuse using all available 1930s interviews with people who had lived in Louisiana and Texas under slavery. This systematic quantitative analysis is a key foundation from which to interpret the testimony of abuse that is explored according to different forms of sexual violence in Part Two. It is argued that abuse was endemic in the South, and occurred on a scale that was much higher than has been argued in previous studies. Enslaved people could experience a range of white male sexually abusive behaviours: rape, sexual slavery and forced breeding receive particular attention in this study due to the frequency with which they were mentioned by the formerly enslaved. These abuses are conceptualised as existing on a continuum of sexual violence that, alongside other less frequently mentioned practices, pervaded the lives of all enslaved people. Common features existed along the continuum. Abuse was intergenerational in nature for both the abusers and the abused. Light-skinned enslaved children born of rape were far more likely to become victims of abuse themselves and young enslaved girls were prematurely sexualised. Sexual abuse was brought into the white domestic space through the institution of sexual slavery, white children were thus unconsciously schooled in the abusive sexual mores of southern society from an early age. Abuse was quite open among white male family members. Other institutions existed that normalised and legitimised abuse, such as the fancy-girl trade and sexual interference through forced breeding practices that included eugenic manipulation and the use of ‘studs’. Despite this, enslaved women showed remarkable levels of emotional survival and initial reflections are made on the ways in which women could resist and cope with sexual abuse. Testimony suggests that abuse was discussed amongst the black community, support was rarely denied to victims, and there was no stigma was attached to children born of rape. With recent revelations on the scale of the institutionalised sexual abuse of women and children, as well as vast modern sex-trafficking networks, there are special opportunities presented through the current cultural climate in order to understand the southern experience. The South is reframed as a ‘culture of abuse’ where sexual violence against enslaved people was naturalised and culturally reproduced.

In the last 30 years many changes have taken place within the Cowlitz Indian Tribe. These changes involve the tribe’s sovereignty and have greatly impacted the emic identity of the tribe. Previous identity research with the Cowlitz predates these changes and no longer accurately describe the Cowlitz. The question for this research was how have these changes affected the emic identity of the Cowlitz today as seen in their community and interactions? And how does their identity now compare with their identity in the times of pre-contact and initial contact with whites? This research uses Manuel DeLanda’s assemblage theory to assess and compare the emic identity of the contemporary and historical tribe in terms of sovereignty, identity, and cultural rejuvenation. When the structure, relationships, activities, and purposes of the tribe and groups within the contemporary tribe were analyzed, there was a striking resemblance to the community system described in early settler journals and histories of the Cowlitz. The research was cross-sectional, including ethnographic study, interviews of tribal members, document analysis, and historical analysis. In an attempt to allow the Cowlitz people to speak for themselves rather than project ideas onto the tribe, each section of the research first allows tribal members to voice their opinions and then relies on Cowlitz voices to confirm the analysis. The final dissertation was then submitted to the tribe for comment.