ABSTRACT This paper asks how popular Hollywood cinema can provide a cognitive map of the complexities of drone warfare. Starting from observations made by Chamayou and Schuppli, who argue that drone warfare undermines the notions we generally employ to understand the political and moral implications of warfare, the essay turns to two recent blockbuster films that seek to give a realistic depiction of drone warfare, The Good Kill (Niccol, 2014) and The Eye in the Sky (Hood, 2015). Both films, the paper argues, use innovative techniques and narrative structures to evoke the sensorial impact of drone warfare. However, they culminate in narrative sequences that depict gendered scenes of heroism and empathy that undermine the goals the films had set out to achieve. The paper argues that both films’ failure is symptomatic of a structural problem inherent in all cinematic attempts at depicting drone warfare. In conclusion it turns briefly to the song “Drone Bomb Me,” by American singer Anohni, to meditate on what an alternative way would be to depict drone warfare.

中文翻译：

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无人机轰炸我：The Good Kill 和 Eye in the Sky 中的电影和战争

摘要 本文询问好莱坞电影如何能够提供无人机战争复杂性的认知地图。从 Chamayou 和 Schuppli 的观察开始，他们认为无人机战争破坏了我们通常用来理解战争的政治和道德含义的观念，这篇文章转向了最近两部旨在对无人机战争进行现实描述的大片， Good Kill (Niccol, 2014) 和 The Eye in the Sky (Hood, 2015)。该论文认为，这两部电影都使用创新技术和叙事结构来唤起无人机战争的感官影响。然而，他们最终在叙事序列中描绘了英雄主义和同理心的性别场景，这些场景破坏了电影设定的目标。这篇论文认为，这两部电影的失败都是描绘无人机战争的所有电影尝试所固有的结构性问题的征兆。最后，它简要地转向美国歌手 Anohni 的歌曲“Drone Bomb Me”，以思考描绘无人机战争的另一种方式。