In a world dizzyingly shifted on its axis since 9/11, nothing has aided understanding of the profound twenty-first-century geopolitical slippages more than the revelations from Julian Assange's WikiLeaks site and the actions of whistle-blower Edward Snowden. Much has been written about the pair but little has investigated their persona and pronouncements onscreen. This article sets out to compare and contrast Snowden's and Assange's real as well as fictional cinematic portrayals, therefore. We find that their screen image conforms to notions of star celebrity but at the same time also challenges surveillance activism itself, on film as well as within wider political frames of reference. The movies about them may have deliberately foregrounded reactions towards the politics of surveillance, but that agenda has been conditioned by responses not only towards Assange and Snowden but also to the filmmakers producing these texts. We give resonance, in other words, to a wider discourse that goes beyond the cinematic in contemporary surveillance culture. There is an interlocutory discourse at play that sees cinema as not just a disruptive presence, but now more than ever as an active participant in mapping out the terrain under investigation. The challenge this presence brings to activism, we conclude, affects film's capacity to expose and contest contemporary state surveillance.

中文翻译：

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爱国者和抗议者、小牛队和操纵者：阿桑奇、斯诺登和监视电影的政治

在一个自 9/11 以来令人眼花缭乱的世界中，没有什么比朱利安·阿桑奇的维基解密网站的启示和举报人爱德华·斯诺登的行为更能帮助理解 21 世纪深刻的地缘政治滑坡。关于这对搭档的文章很多，但很少有人调查他们在屏幕上的角色和声明。因此，本文旨在比较和对比斯诺登和阿桑奇的真实和虚构的电影形象。我们发现他们的银幕形象符合明星名人的概念，但同时也在电影以及更广泛的政治参考框架内挑战监视行动主义本身。关于他们的电影可能故意突出对监视政治的反应，但这一议程不仅受到对阿桑奇和斯诺登的回应，而且受到对制作这些文本的电影制片人的回应的制约。换句话说，我们给予一种超越当代监控文化电影的更广泛话语的共鸣。有一种中间话语在起作用，认为电影不仅是一种破坏性的存在，而且现在比以往任何时候都更积极地参与绘制正在调查的领域。我们得出结论，这种存在给激进主义带来的挑战影响了电影揭露和挑战当代国家监视的能力。有一种中间话语在起作用，认为电影不仅是一种破坏性的存在，而且现在比以往任何时候都更积极地参与绘制正在调查的领域。我们得出结论，这种存在给激进主义带来的挑战影响了电影揭露和挑战当代国家监视的能力。有一种中间话语在起作用，认为电影不仅是一种破坏性的存在，而且现在比以往任何时候都更积极地参与绘制正在调查的领域。我们得出结论，这种存在给激进主义带来的挑战影响了电影揭露和挑战当代国家监视的能力。