The drawings, paintings and films of George Gittoes have been interpreted as humanistic works of art, as they emphasise the fate of those caught up in wars around the world. Philosopher Daniel Herwitz compares Gittoes to artists from India and South Africa to align him with a global campaign for human rights and humanitarian interventionism. Media theorist Nicholas Mirzoeff has criticised the way Gittoes paints suffering in poorer parts of the world, while activists have applauded this same feature of his work, awarding him the Sydney Peace Prize in 2015 alongside Naomi Klein and Nelson Mandela. The prize came after Gittoes’ turn to documentary filmmaking in the 21st century, and his films have themselves been awarded for their humanitarianism. These documentaries work to capture the complexity of life in low-intensity war zones in Afghanistan, Pakistan, Iraq, and the inner cities of the United States. An examination of key drawings and paintings from the 1980s and 1990s, however, troubles this humanistic interpretation of Gittoes’ films. In their representation of machinic soldiers and mutilated victims, Gittoes’ drawings, paintings and graphic works from conflicts in Australia, Nicaragua, Somalia, and Rwanda suggest that war is as much a posthumanist experience as one demanding a humanistic response. The concepts of post-heroic and hyper-real war help to sketch out the ways in which Gittoes’ works respond to the strange and disconcerting experience of contemporary conflict. This is not to say that Gittoes does not document suffering, but that his work is also engaged with the alienating experience of wars that are increasingly conducted with advanced visual technologies and over long, drawn-out periods of time. In 1995, two texts were published that attempted to capture something of this new era of warfare. In the journal Foreign Affairs, Edward N. Luttwak named a ‘post-heroic war’ that had come about because of the reluctance of advanced Western militaries to inflict casualties on either the enemy or their own troops. The term quickly became a catch-all to describe the shift away from the total wars of the nineteenth and early twentieth centuries to the low-intensity conflicts of the

中文翻译：

---

后英雄、超真实战争时代的乔治·吉托斯

George Gittoes 的素描、绘画和电影被解释为人文艺术作品，因为它们强调了那些被卷入世界各地战争的人的命运。哲学家丹尼尔·赫维茨（Daniel Herwitz）将吉托斯与来自印度和南非的艺术家进行了比较，使他与全球人权和人道主义干预运动保持一致。媒体理论家尼古拉斯·米尔佐夫（Nicholas Mirzoeff）批评了吉托斯描绘世界贫困地区苦难的方式，而活动人士则为他的作品的这一特点鼓掌，并在 2015 年与娜奥米·克莱因和纳尔逊·曼德拉一起授予他悉尼和平奖。该奖项是在 Gittoes 在 21 世纪转向纪录片制作之后颁发的，他的电影本身也因其人道主义而获奖。这些纪录片致力于捕捉阿富汗低强度战区生活的复杂性，巴基斯坦、伊拉克和美国的内城。然而，对 1980 年代和 1990 年代的主要素描和绘画的检查，使对吉托斯电影的这种人文主义解释产生了麻烦。吉托斯在澳大利亚、尼加拉瓜、索马里和卢旺达的冲突中表现机械士兵和残缺不全的受害者，在他们的绘画、绘画和图形作品中，战争既是一种后人类主义的体验，也是一种需要人文主义回应的体验。后英雄和超现实战争的概念有助于勾勒出吉托斯的作品如何回应当代冲突的奇怪和令人不安的经历。这并不是说吉托斯没有记录苦难，而是他的作品也涉及战争的异化体验，这些体验越来越多地使用先进的视觉技术进行，并且持续时间很长，延长的时间。1995 年，发表了两篇文章，试图捕捉到这个新的战争时代。在《外交事务》杂志上，爱德华·N·卢特瓦克 (Edward N. Luttwak) 将一场“英雄后战争”命名为“英雄后战争”，因为西方先进军队不愿对敌人或自己的军队造成伤亡。这个词很快就变成了一个包罗万象的词，用来描述从 19 世纪和 20 世纪初期的全面战争到低强度冲突的转变。