The Gendered Geometry of War in Kathryn Bigelow’s The Hurt Locker (2008)

Abstract

Although US President Barack Obama pulled American combat troops out of Iraq in August of 2010, the region remains unstable. Considering the most current violence around the globe, American soldiers still fighting in Afghanistan, and the anti-American sentiments in Syria, Egypt, Iran, and Northern Africa continuing to grow, there appears to be no end in sight. Kathryn Bigelow’s The Hurt Locker (2008) shines cinematic light on the men and women involved in the current warfare, and the outcome clearly represents a revision of the long-standing characteristics of the war film genre.

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