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Killing is the New ‘Justice’: The Murky Morality of Target Killings

1 Oct

Today’s news of the killing of US citizen Anwar al-Awlaki by US drones sparked a much overdue flurry of criticism and questions on the ethics and legality of Obama’s death-by-drone programme in the war on terror. Awlaki, al-Qaeda’s alleged ‘chief of external operations’ in Yemen (an upgraded title he received posthumously by officials at the White House and the CIA – previously he was by reputation and status merely a radical Muslim cleric) is the first US citizen to have been assassinated in President Obama’s brand of the fight against terrorism. The drones programme is by no means a recent tool in the American war chest, nor has it been particularly reserved in its remit of eliminating specified targets in this interminable ‘war’ effort. What is new, however, is that the US has today eliminated one of it’s own citizens, without due process, stripping said citizen of his 5th Amendment rights and rendering him nothing if not unworthy of living. The fact that a public outcry against the extra-judicial assassination of a human being becomes audible (aside from the controversial killing of enemy #1 Bin Laden of course) only when a US citizen is concerned starkly highlights the normalised extra-judicial status of all foreign drone targets in the perception of the international public. The gloves that came off during the Bush administration are still off and killing as the new justice is beginning to supersede the norm against assassinations.

The norm against political assassinations has been in serious peril since the Bush administration first overtly conceded the strategic use of target killings, framed as a military act to weed out and eliminate high-level Al-Qaeda members, in 2002. This norm continues to deteriorate with Obama at the helm, who has stepped up the drones programme considerably since he took over from Bush junior in 2008. Today, there are roughly double the number of drone attacks per week in regions deemed terrorist hotbeds, specifically Pakistan. Since 2004, these drone strikes are reported to have killed between 1,579 and 2,490 individuals, whereby some analyses estimate the civilian casualty rate among these statistics to be as high as 20%. The vast majority of these deaths have occurred in 2010. While the policy originated as a programme to “capture and kill” a small number of high value terrorist leaders in the G.W. Bush years, the programme has expanded its remit considerably: up to 2,000 killings can hardly be described as a small number, no less if we accept that the total number of military leaders killed was a mere 35 since 2004.

Leaving aside the sovereignty issue that glaringly stares us in the face in a situation where the US decides to engage militarily within a non-war party, such as Pakistan or Yemen, this is a highly concerning development, as it represents not only the gradual erosion of the norm against assassinations but also the very acceptance of the ethics of the targeted killing of persons on a growing scale. (more…)

Nothing Is Authentic Anymore: Disavowed Selves and the Lure of Realpolitik in ‘Tinker, Tailor, Soldier, Spy’ (2011) and ‘In The Loop’ (2009)

21 Sep

Know this: *great clunking spoilers ahead*.

The critical praise heaped on Tomas Alfredson’s version of Tinker, Tailor, Soldier, Spy reflects more than the hunger of intelligent audiences for post-Inception thrillers. Nor can it be explained merely by the excessive parade of grand thesps (Benedict Cumberbatch and the under-rated Stephen Graham both wasted, the former with a sub-Sherlock performance and the latter with a paper-thin bit-part, given historical fidelity by bad hair alone). Its visual and affective qualities are seductive and occasionally beautiful, but then so is its submerged vision of espionage and realpolitik.

The antithesis of Bond and Bourne, Tinker, Tailor offers up the almost forgotten Cold War as the stage for its intrigues. Although the voices are softer and the principals older, there is a more deadly game afoot. As Kermode comments, there will be large swathes of the audience who don’t know the political context at all. Not that it matters, since the detail (Hungary, the parallels with Guy Burgess, Anthony Blunt et al.) are but window-dressing for the appeal of George Smiley (silent, menacing, magnificent Gary Oldman). Contra the brashness of post-9/11 global political allegory-fictions, we are gently ushered into an epic game of chess, played by men. Men whose tools are wit, logic and cunning. Men from an analogue age who use little pieces of card to alert them to potential break-ins.

Our contemporary operatives, even those of clear intellect and cunning are, like Bob Barnes in Syriana, always eventually compelled to revert to Hollywood expectations (explosions, gun fights, fisticuffs) to bring matters to their appropriate climax. Not in Tinker, Tailor. At one stage Smiley and co. require small handguns but, although drawn, they are never used. Barring the quasi-orgasmic final exchange between Bill Haydon and Jim Prideaux, our other vivid encounters with slaughter and disembowelment are after the fact, still, frozen scenes, crowned by flies. As if painted by Goya. We gulp and turn away, but what beautiful mutilations!

(more…)

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