Jairus Grove — Living on the Wrong Side of the Redline

Jairus Grove

Director, University of Hawai'i Research Center for Futures Studies 

Associate Professor of International Relations

Department of Political Science

University of Hawai'i at Manoa

On Valentine’s day 2018, Admiral Harry Harris revealed that an evacuation plan for Non-essential personnel and military dependents was being developed for South Korea. A few weeks earlier the public was given a brief preview of this policy when almost-U.S. Ambassador to South Korea, Victor Cha, announced that he was dismissed by the Trump administration in part because of his resistance to undertaking an evacuation. In his words, an evacuation would provoke North Korea and hasten the pace of invasion plans by the White House. Admiral Harris’ testimony before congress confirmed Cha’s incredulity regarding such a plan as he described the unrealistic logistics of moving thousands of American military dependents and potentially hundreds of thousands of U.S. citizens residing primarily in Seoul. Adm. Harris’ testimony is not encouraging, particularly in light of Trump’s ominous foreshadowing of a world-threatening “phase II” if another round of sanctions do not produce complete nuclear disarmament on the part of North Korea.


From the island of Oahu the response is: what about us? Seoul is 5 to 10 minutes from North Korean retaliation but Honolulu is only 15 minutes further away by ICBM. Where is our evacuation plan? The already unimpressive track record of U.S. nuclear interceptors has been joined by another very public failure of an interceptor test here in Hawai’i. Add to this the lingering collective dread after our mistaken missile alert on January 13th of this year, and we want to know where our military-assisted evacuation plans are. Unlike South Korea which has thousands of bomb shelters, Honolulu has no approved public bomb shelters. This is a fact reinforced by recent statements by state civil defense authorities recommending that we all shelter in place despite the fact that most Honolulu homes are of wooden construction and do not have basements. We have nowhere to go, nowhere to hide, and we have received a taste of what it is like to wait for unstoppable death with those we love most.


What makes our collective vulnerability all the more terrifying is the palpable panic on the faces of our active duty service personnel in our communities, classrooms, and families. They are being told to prepare themselves to die for their country in Korea, are being issued a new generation of body armor, trained for tunnel warfare, and tasked to move the last of the necessary tactical equipment to South Korea. States move B-2 bombers to Guam to send a signal to North Korea. They move body armor to Seoul to prepare for invasion. Here in Hawai`i, we take the Trump administration at its word when they say there is no ‘bloody nose strike’ in the works. That is because we know a full scale attack is being planned. If this seems unthinkable on the mainland, consider how often you have said Donald Trump’s behavior was unthinkable just before he proved you wrong.


If all of this seems alarmist, just read the news. Another career diplomat and one of the last veteran experts on North Korea, Joseph Yun, is unexpectedly retiring this Friday. The administration’s active pursuit of war is further corroborated by leaks inside the DoD that war planners were purposely slowing down the development of new scenarios for invading North Korea out of fear that it would empower Trump to enact one of the scenarios. To further complicate the possibility of peace, North Korea has responded to the weak U.S. offer of post-Olympic talks by staying that diplomacy cannot happen if nuclear disarmament and North Korean vulnerability are not negotiable. Further, the U.S. administration is trumpeting the U.N. announcement that North Korea is aiding Syria’s chemical weapons development; this is an accusation hauntingly reminiscent of the ramp up to invade Iraq. And as Honolulu Star-Advertiser journalist, William Cole, has confirmed, Fort Schafter here in Honolulu is furiously at work on a plan to evacuate the dependents of military and diplomatic personnel from South Korea. The graveness of the situation has been publicly underlined by statements from Senator Lindsey Graham and Senator Tammy Duckworth who both believe that war is an imminent threat to U.S. citizens. Finally, the troops, air power, naval power, and the munitions to supply them have all already been moved to the theatre of our impending war. To bring it all to a point, and repeat the tragic history of the 2003 Iraq invasion, February 28th, the Wall Street Journal published John Bolton's editorial "The Legal Case for Striking North Korea First." The only thing left standing between the U.S. and war is a decision by President Donald Trump.


The wrong people have been making the decisions over war and peace for too long and with tragic consequences. We have a generation of soldiers with PTSD, traumatic brain injury, and permanently life-altering wounds because President George W. Bush decided to prosecute a war of opportunity in Iraq. If President Donald Trump were to make a similar decision on the Korean peninsula, the consequences for the United States would be incomparably catastrophic. Figures reported by Adm. Harry Harris as well as regional expert and CSIS director Ralph Cossa estimate that more than 200,000 U.S. civilians would be in harm’s way in South Korea, 162,000 in Guam, and another 1.4 million Americans would be targeted in Hawai’i. The overwhelming majority of all of these populations live just a few miles from the most probable military targets. Seoul, all of Guam, Pearl Harbor, Fort Schafter, are all densely populated civilian areas that would be engulfed in fire.


Those on the periphery would face nuclear fallout of a kind for which we have no models to predict the consequences. We have never fought a nuclear war with weapons in the range of a hundred kilotons. The only thing we can know for certain is that a nuclear exchange between the U.S. and North Korea would kill millions in the first hours of combat. What happens next, a potential strike on the mainland with biological or chemical weapons? The sudden discovery that North Korea does have the potential to reach the U.S. mainland with nuclear ICBMs? With both sides fighting for their very survival and the potential to draw in China and Russia, the gamble on the Korean peninsula risks not only the first global nuclear war but the first time as many as four nuclear powers could be engaged simultaneously.


Even in the best case scenario, that is, unprecedented accuracy and execution, 100 percent of U.S. missile interceptors would be spent before a small fraction of the potential nuclear missiles were launched by any of these powers. Many will certainly scream that this is exactly why we need a more robust national missile defense and they may be right. Unfortunately, this war is going to be fought in the next few months and in addition to the major technological breakthroughs that will need to occur at a pace we cannot control, even the construction and deployment of existing technology will take years. A future defense system cannot save my children in Hawai’i and it will not save yours on the mainland either.


We must demand the democratic control of war and peace now. Unlike the floundering development of the national missile defense system, the technology for U.S. war control was deployed March 4th, 1789. The U.S. constitution gives the war powers to Congress, a body held accountable by citizen voters, not an electoral college. The U.S. Congress can make peace with North Korea and begin the process of normalizing relations so that real diplomacy can begin for a lasting peace. The lesson of the Cold War is that diplomacy and the institutionalization of enmity saves lives. Nuclear hotlines, arms control treaties, and diplomacy save lives. Deterrence did not save us from the Soviet menace; deterrence held each of the parties at bay until co-existence could be successfully negotiated.


What we face on the Korean peninsula is even more terrifying than the Cuban Missile Crisis. What Trump is planning for North Korea would be the equivalent of President Kennedy thinking he could preemptively invade the Soviet Union, safely destroy or secure all of their missiles, and all before a retaliatory response could be mustered. Add to this insane scenario that we live in a world with China and Russia both better equipped than the Soviet Union of 1962 and you begin to get a glimpse of the hubris of our current administration. A decision of this magnitude should not be made in the oval office. If democracy has any value at all, if the right of representation has ever mattered, it is at the moment in which the decision could mean the end of our world as we have known it.


What would democratic control look like? To begin with, Congress should reciprocate North Korea’s public declaration not to use nuclear weapons offensively. At the same time that Congress declares our own nuclear no-first use policy, it should direct Strategic Command that the President only has retaliatory nuclear authority. It must be made clear that this includes the use of so-called tactical nuclear weapons and nuclear bunker busters. Defanged of a nuclear first strike, Trump’s ability to escalate the conflict too quickly for Congress to act becomes equal parts impractical and unthinkable. The next step should be a concerted effort to normalize relations with North Korea and support the bilateral dialogue between North and South Korea. You cannot successfully negotiate with another country while you also have a stated policy of overthrowing the government of that country’s regime. Mutual recognition of sovereign equality is a precondition to any real discussion. If these efforts fail, if North Korea truly is undeterrable and launches their weapons, thereby committing national suicide, the U.S. is no worse off than it would be minutes after a preemptive invasion. We must exhaust real diplomacy or face a world in which sacrificing a few million Americans at a time is a rational foreign policy objective. Maximal Pressure is not a strategy for peace. It is a prelude to war and it must be stopped. Our President will not protect us. Our lives are in our hands and it is time to fight for survival.


Suggested Reading and Public Evidence of Claims Made

Admiral Harry Harris Before Congress on Effort to Evacuate U.S. Citizens from South Korea
https://www.military.com/daily-news/2018/02/18/fort-shafter-developing-evacuation-plan-americans-south-korea.html

Tammy Duckworth Urges Evacuation of South Korea
https://www.theatlantic.com/international/archive/2018/01/duckworth-trump-north-korea/551381/

Lindsey Graham and Others Urge Evacuation of South Korea
https://www.japantimes.co.jp/news/2017/12/04/asia-pacific/leading-u-s-senator-urges-pentagon-evacuate-military-families-south-korea-threat-war-grows/

U.S. Sends Hundreds of Thousands of Bombs to Guam for War with North Korea
http://nationalinterest.org/blog/the-buzz/us-sends-hundreds-thousands-bombs-guam-north-korea-threat-22804

Hawaii and Guam Will Be Targeted and Escalation Will Not Be Controllable
https://www.politico.com/magazine/story/2018/01/12/north-korea-strike-nuclear-strategist-216306

U.S. Envoy to North Korea, Joseph Yun, Unexpectedly Retires
http://www.latimes.com/sns-bc-us--united-states-north-korea-20180227-story.html

Victor Cha Dismissed In Part Because of Discussion Over North Korea Strike and Evacuation
https://www.washingtonpost.com/opinions/victor-cha-giving-north-korea-a-bloody-nose-carries-a-huge-risk-to-americans/2018/01/30/43981c94-05f7-11e8-8777-2a059f168dd2_story.html?utm_term=.f4cb2e977efc
 
DOD Fears Too Many Options for War Will Increase Trump’s Confidence to Go To War
https://www.nytimes.com/2018/02/01/us/politics/white-house-pentagon-north-korea.html

Trump Has Sole Authority to Launch Nuclear Attack 
https://www.thenation.com/article/in-the-united-states-just-1-person-has-the-power-to-kill-millions-of-people/

How a War With North Korea Would Unfold. Millions Dead.
https://www.washingtonpost.com/outlook/this-is-how-nuclear-war-with-north-korea-would-unfold/2017/12/08/4e298a28-db07-11e7-a841-2066faf731ef_story.html?utm_term=.12a5b4245077

B2 Nuclear Stealth Bombers Deployed to Guam
https://www.airforcetimes.com/news/your-air-force/2018/01/11/b-2-spirit-stealth-bombers-200-airmen-deploy-to-guam/

F-35’s Stealth Fighters Deployed to Okinawa
https://www.japantimes.co.jp/news/2017/10/24/national/politics-diplomacy/u-s-deploy-powerful-f-35a-stealth-fighters-okinawas-kadena-air-base-north-korean-threat-grows/

Three Aircraft Carrier Groups Deployed to North Korean Theatre
https://www.cnn.com/2017/11/12/politics/us-navy-three-carrier-exercise-pacific/index.html

U.S. To Deploy Missile Capable Drones to South Korea
https://www.theguardian.com/us-news/2017/mar/14/us-to-deploy-missile-capable-drones-across-border-from-north-korea

U.S. Soldiers Training for Tunnel Warfare
http://www.newsweek.com/us-war-north-korea-tunnels-775209

CIA Head Predicts North Korean Nuclear Capability will Reach Mainland U.S. in Months not Years.
https://www.cnbc.com/2017/10/20/cia-head-nkorea-months-from-perfecting-nuclear-capabilities.html

Trump Threatens Destructive Phase II if Sanctions Do Not Work
https://www.nytimes.com/2018/02/23/us/politics/trump-north-korea-sanctions.html

Trump Sabotages Tillerson’s Diplomatic Efforts
https://www.nytimes.com/2017/10/01/us/politics/trump-tillerson-north-korea.html

U.S. Quietly Deploys Soldiers and Pilots to South Korea for War
https://www.nytimes.com/2018/01/14/us/politics/military-exercises-north-korea-pentagon.html

U.S. Missile Interceptor Fails Off Coast of Hawaii
https://www.nytimes.com/2018/01/31/us/politics/missile-launch-test-failed.html

The Missile Defense System is Speculative at Best
https://thediplomat.com/2017/10/trumps-overconfidence-in-us-missile-defense-could-lead-to-a-deadly-war-with-north-korea/

North Korea Possesses Significant Biological and Chemical Weapons Threat
https://www.belfercenter.org/publication/north-koreas-biological-weapons-program-known-and-unknown

Hawaii Residents Told To Shelter In Place
https://www.cnn.com/2018/01/13/us/hawaii-false-alarm-react/index.html

University of Hawaii System Sends Out Email That There Are No Bomb Shelters
https://www.cbsnews.com/news/university-of-hawaii-sends-ominous-email-warning-in-the-event-of-a-nuclear-attack/

U.S. Congress Estimates 390,000 Veterans with PTSD and Traumatic Brain Injury From Iraq and Afghan Wars.
https://www.congress.gov/bill/114th-congress/senate-resolution/215/text

Signs of an Impending Korean War
http://www.atimes.com/mistakable-unmistakable-signs-impending-korean-war/



Russia Will Interpret a Nuclear Attack on its Allies as A Nuclear Attack on Russia
 https://www.cnn.com/2018/03/01/europe/putin-nuclear-missile-video-florida/index.html

Japan Intercepts Russian Bombers
https://thediplomat.com/2018/02/japanese-fighter-jets-intercept-nuclear-capable-russian-bombers-near-us-base/

Bolton Makes A Public Case for Striking First
https://www.wsj.com/articles/the-legal-case-for-striking-north-korea-first-1519862374

Extinction Events and the Human Sciences

William E. Connolly

Johns Hopkins University

                &

Jairus Victor Grove

University of Hawai'i 

Mill, Marx, Weber, Mannheim, Hayek, Keynes, Berlin, Wittgenstein, Arendt, Elster, Schumpeter, Rawls, Habermas, Shklar, Taylor, Strauss, Kateb… The canonical list could be extended. These are justly famous, Euro-American, mostly male, philosophical, social, economic and political theorists writing predominantly in the nineteenth and twentieth centuries. They disagree with each other about several notable things. Those are the debates we love. There are, however, significant affinities and complementarities between them occluded by those debates. Some humanist versions of postcolonial theory and feminism also participate in them. Whether they define humans as so exceptional that everything else fades into “nature”, or treat that nature as forming the background, natural context or staging ground of human action, or silently fold providential assumptions into the course of that nature, or treat humans as actual or potential masters of it, or combine some of these views into one synthetic picture, they tend to think of most nonhuman change as set on long, slow time. 

There is a sense amongst many in the human sciences ,even those who reject creationism, that the ‘chaotic earth’ is part of a primordial past. Not unlike the origin myth of Genesis the formative processes of upheaval that set the world in motion are thought to have congealed and cooled for the age of man. That asteroidal bombardment, ocean currents, symbiogenesis, plate tectonics, and the manufacture of the molecule O2 by early plants can be subsumed under the word “nature” is revealing. It may disclose the masters to be mistaken along a dimension that infiltrates the rest of their thinking.

The dominant tendency among them is to construe “nature” to change slowly unless and until “culture” becomes entangled with it and, often enough, to weave a cocoon around the human estate to insulate it from rapidly changing nonhuman processes. That was understandable for a while. As Elizabeth Kolbert and Michael Benton review respectively in The Sixth Extinction and When Life Nearly Died, even eminent geologists and evolutionary biologists pushed a version of gradualism for a long time. The seminal geologist Charles Lyell and the evolutionist, Charles Darwin, made fun of older theories of periodic “catastrophe”, as advanced for instance by that strange biologist Cuvier who Foucault found to be so mesmerizing. Echoing Kant’s postulates about human progress without radical breaks, they found no sharp punctuations in geology or biological evolution. They advanced their own theories against adamant opposition from some theological orientations. Did the hegemony of the theo/evolution debate drain attention from an equally important debate between gradualism and the theme of periodic “catastrophe”?

When Luis Alveraz and Stephen J. Gould challenged gradualist views, as late as 1980, the theory of “punctuated equilibrium” was ridiculed by many evolutionary biologists. That theory, now backed by a lot of evidence, contended that evolution could proceed gradually and then turn rapidly due to a major, sometimes exogenous event. If that theory turned out to be true evolutionary biologists would need to pay attention to geological change, astrophysical events, the changing pace and range of human migration, settlement and travel, and climate processes to study their own field. They would have to become transdisciplinary. That alone was enough to cause consternation in academic departments.

The claim was that dinosaurs had been wiped out suddenly 65 million years ago in the aftermath of a massive asteroid hitting Mexico. The impact, the global dusting, and the ensuing climate change destroyed these masters of the earth in a short time, setting off a new turn in evolution that favored mammals and other species. As late as the nineteen nineties an eco-friendly colleague strongly advised one us to drop Gould because the pros in evolutionary biology found him to be incredible. Today, of course, the asteroid event is supported by massive evidence and its effect on evolution now widely accepted. Things change rapidly sometimes in the world and in theory. Both the scope and speed of punctuation are pertinent.

We now know that there have been several extinction events The most devastating, when life itself came close to being extinguished, occurred about 250 million years ago. Over a mere 100,000 years about 90% of the earth’s species succumbed, with the rate and pace varying on sea and land. Why? That debate continues. Was it another asteroid? Few seem to think so. Was it a series of huge methane bursts from the sea, fouling the atmosphere and changing the climate? Perhaps. Other major evolutionary turning points are now under investigation as well, punctuated by a large series of “minor” events. One major extinction started around 450 million years ago, another around 200 million years ago, and, yes, another is rapidly underway as we speak. The last one is primarily a product of human activity, in which our modes of travel inadvertently carry bacteria, fungi, and other species into new environments, our modes of carbon extraction contribute to rapid climate change, and our break up of species migration routes block the escape of diverse species. Welcome to the Anthropocene.

Well, what difference would it make to that diverse group of canonical thinkers listed at the beginning of this post if each had been impressed, at least on this score, with Cuvier over Darwin? If they both accepted evolution and stood Darwinian gradualism on its head? After all, most of these events happened long ago and many are set on fairly long historical scales.

Well, they and we might have become more alert to how a host of nonhuman processes including plant evolution, hurricanes, ocean currents, volcanoes, fungi transmissions, asteroids, bacteria, and animal evolutionary patterns, both follow specific trajectories of their own and periodically become imbricated in unruly ways with human processes of production, travel, faith, politics, investment, consumption, and war. We might have folded a sense of how interacting force fields set on different time scales enable, interrupt, turn and reshape our own trajectories of being. And we theirs.The twentieth century thinkers also might have come to terms earlier with how modern human practices can affect climate, help to acidify oceans, and serve as prime movers in extinction events. (The hypothesis of planet warming because of human action was offered as early as 1896) We might have explored the terms of our entanglements with a host of other active forces and micro-actants. We might also have sensed how the hotly contested ideals of radical individualism, national unity, productionist collectivism, market rationalism, providential theism, capitalist mastery, human exceptionalism, and organic holism may all reflect in different ways evasions of the planetary conditions of life.

Each tends to project a future of smooth possibility in our relations with the nonhuman world more than to prepare us to cope with modes of change and unruliness coming from multiple sites. It is difficult to imagine that thinkers engaged with the catastrophic tendencies of the world could sustain ideas about impersonal market stability or argue that ecological concerns were secondary or tertiary to real politics. We certainly would not lionize James Carville for insisting to a Democratic party at the tipping point of a new conservative era that “It’s the economy, stupid.” We might even have explored how the cultural hesitancy to accept the reality of a world set on multiple interacting tiers of time expressed a series of theistic and atheistic, conservative and liberal, demands for a world that was ours for the taking. We might have challenged spiritual denialism in the human sciences. Certainly, Nietzsche proposed such a course of action quite a while ago. 

Dominant modes of explanation, multiple spatiotemporal scales to engage in exploring an issue, problematical features of several western ideals of the good life, and the dubious standing of spiritual demands we make upon God, the earth, and/or the cosmos. Could they be interrupted by challenging both naturalist gradualism and human exceptionalism?

Should theorists and social scientists today drop the crew listed at the top of this piece? No, some of their insights remain. But we should not lionize them too much either or understand them simply in their “cultural contexts”. (The “we” is invitational.) We need, rather, to read them against themselves, with one eye on their assumptions, demands and affinities and the other on the predicament they have helped to bestow upon us. We may also read them in the company of "minor" thinkers who, though not perfectly prescient either, waged war against the dominant contests and the existential spiritualities clinging to them. Think, for instance, of Thoreau, Nietzsche, James, the later Merleau-Ponty, Val Plumwood, Guattari, Gandhi, Kafka, Rachel Carson, Bateson, Gould, Terrence Deacon, Whitehead, and Werner Herzog.

Rachel Carson Testifying Before Congress on the Dangers of Pesticides, 1962.

Yes, Marx’s theory of alienation reveals things about capitalist hegemony, the burdens of factory work and the commodity form. But we need to add the alienation from mortality, from interspecies entanglements, and from the shaky place of the human estate in the cosmos to the list. These modes of spiritual insistence can also surge periodically into the intercoded domains of production, consumption, investment, and voting. More of us need to pursue the transcendence of some modes of alienation and to transfigure others to help us affirm a world of becoming that is neither simply our oyster nor our staging ground. Certainly we might think twice before wagering a century and a half of industrial expansion and development in the hope of creating the conditions for a true revolutionary class. We need both to confront our contributions to the sixth extinction and to affirm the shaky place of the human estate on the planet as one of the conditions of being rather than seeking another world to be built on the ruins of this one.

What of Kant’s reliance on ‘nature’s secret plan’ for the self-organizing moral maturation of humanity. Despite the claims of contemporary philosophy and liberal thinking to be post-metaphysical have the cosmopolitans and neo-Kantian’s really rid themselves of this strong faith in providence? We do not think so. Even as most on the Academic left challenged climate deniers, not enough has changed in their own views of a human-centric world. Like their fellow travelers the Neo-Arendtians, they bristle at the idea of a world not for humans. If instead climate change teaches us, as Timothy Morton has argued, that this was never our world to begin with how confident can we be of moral theories hitched to a human separatism? It seems in an age in which thoughtless human globe trotting has spread fungus imperiling the existence of all amphibians we may want to hesitate before we declare ourselves global citizens. That global justice is no match for one of the more than 8,000 life ending near earth asteroids should give us pause. Certainly it should humble our sense of uniqueness among living things and maybe inspire a little creaturely solidarity.

Or take Geroge Kateb and Charles Taylor, the radical individualist and the neo-providentialist who disagree with each other so much. Is our place on the planet more entangled and fragile than either the atheist or the theist has so far projected? Is it time to challenge respectfully the patterns of existential insistence expressed in both versions of providentialism?

Our Pale Blue Dot.

Today perhaps more of us need to experience plants and other actants more through the eyes of Jane Bennett, capitalism through those of Gilles Deleuze and Eugene Holland, the shifting affective tones of human perception through those of Brian Massumi, species evolution through those of Elizabeth Grosz, Lynn Margulis and Terrence Deacon, the pertinence of Sophocles and tragic possibility through those of Bonnie Honig and Steven Johnston, the issue of sovereignty and tragic possibility through those of Mike Shapiro and James Der Derian, the pursuit of theopoetic pluralism through those of Catherine Keller, the event of the Anthropocene through those of Bruno Latour and Tim Morton, creative Bangladesh ecological practices through those of Naveeda Khan, the waxing and waning of Indian spiritualities through those of Bhrigu Singh, the thinking of forests in the work of Eduardo Kohn, the break up of Antarctica through those of Werner Herzog, and the relation between extinction events and existential politics through those of Elizabeth Kolbert, Michael Benton and artists like J.G. Ballard who in 1962 wrote a novel called the Drowned World set in the aftermath of radical sea level rise.

Detroit Public School.

As The Dark Mountain environmental collective recently put it, maybe we should try to, “paint a picture of homo sapiens which a being from another world or, better, a being from our own — a blue whale, an albatross, a mountain hare — might recognize as something approaching a truth.” This seems to us what is at stake in a revaluation of our master thinkers. To take seriously the world at large is to theorize along side whales, trees, hurricanes, asteroids, the fleeting presence of iridescent frogs, minor human thinkers, other ways as well as forms of life all while not losing sight of the human estate we struggle to hold on to in the maelstrom of an expanding universe.

The frail heritage of gradualism and exceptionalism is not up to this task. The human sciences must no longer feed off the carbon remains of old emissions. 

Feeling Gangster Squad

The art of trailers has become its own genre of filmmaking. Video games, political ads, even commercials for food and insurance borrow techniques from the form of the trailer. While coming attractions are as old as moving pictures the modern trailer eschews story and outline for an assemblage of affectively charged and relatively disconnected sights and sounds. The work of the trailer, the excitement that it generates often far exceeds the films, or even politicians, it hopes to promote. The affective intensity of this form of promotion so commonly causes the complaint “the trailer was better than the movie” that an active attempt is made to produce films at the same amplified pitch resulting in summer movies like Men in Black III, Transformers, etc for which narrative is no longer even an afterthought, it is entirely absent. 

Although all movies have trailers the pinnacle and likely driving force of such innovations in compressed sight and sound is the action film. Explosions, fleeting love interests, more explosions, executions, tense torture ticking bomb scenes all held together by a rogues gallery of heroes and villains. A facial line-up superimposed on a series of disconnected but thrilling events all set to some soaring score; either coming pop hit or operatic aria. One cannot help but feel the concerns of those that saw in aestheticization a fascistic impulse. The great filmmaker Francois Truffaut once remarked that there was no such thing as an anti-war film because the medium was too powerful it glorified everything on its screen. Despite the fact that most trailers are now viewed on cell phones or ipads there is still something about the metonymic mix of image and sound that lends itself to glorification. The body is mobilized for enjoyment. In what follows John Protevi and Jairus Grove with a guest appearance by Davide Panagia explore the composition of a recent trailer for the movie “Gangster Squad” in an effort to diagram the affective economy at work in a mere 2 minutes and 30 seconds of video.

* * * 

John Protevi
  Louisiana State University 
The trailer for Gangster Squad yields a prima facie reading of multiple fascist affective tropes.  It glamorizes extra-legal state agent violence aimed at purifying a corrupt society by "going to war." It's only a very small part in a larger tendency of many such cultural moments, but it's worth analyzing on its own.
  Here's a quick reading of the visuals and the verbals of the trailer. Not shot-by-shot, but picking up on some of the most obvious fascist affective elements. As we'll see, the trailer is not exactly great cinema, but didn't somebody once say you can read the cultural unconscious much better with schlock than with good art?
  Before we start, Davide Panagia asks us to keep in mind that in both the visual and aural affective registers there is something compelling about the staccato delivery of the clichéd lines, the boxer motif throwing solid punches, the rat-tat-tat of the machine gun & bullets, and the of hip-hop rhythms and sounds. Superimposing all these aspects can we speak of such quick-delivery motifs as a central affective register within which fascism might resonate? The staccato is not enough to suggest by itself to suggest a fascist affect – we'll make that case below -- because these elements work in other spheres also (think of Barthes's 'punctum', or empiricism's 'impression'). That said, the aural and visual staccato punctuality of the trailer seem to scream out a kind of temporal foreshortening that is in no uncertain terms anxiety-producing.

The opening sequence is the Sean Penn monologue with him punching the heavy bag, and some stock shots of the Hollywood sign. I don't think there's much to note here, a little Realpolitik ending with the hubristic "Out here I'm god" (0:01-0:37). But as with all this reading, I'd be happy to get suggestions in the comments.
Things pick up when we get Nick Nolte's grizzled cop veteran talking to Josh Brolin's determined leader of men: "Los Angeles is a damsel in distress, and I need you to save her" (0:38 – 0:41). So here we have society as soft, female, and endangered, with the male cops called upon to swoop in to save her.
  Then we cut to beat-up suspects being led into the police station. Ryan Gosling: "what happened to them?" Brolin: "they resisted." (0:41 – 0:45) Besides the glorification of violence, we have the action hero one-liner trope, which increases the sympathetic identification with Brolin.
Then back to Nolte, who redefines the problem from law-enforcement to warfare: "it's not a crime wave, it's enemy occupation" (0:46 – 0:49). There's a War on Terror forecast here, but we don't have to dwell on that. It's enough that civil society is declared just a mask for warfare. So the heroes have to answer the fascist demand: the homeland is occupied by enemies, the liberal response to treat the gangsters like criminals rather than war enemies is ineffective, what are you going to do about it?
  The response is a black-ops / plausible deniability / "off-the-books" group of cops. At 0:50 Brolin says "I'll need men." What kind of men? Men who walk forward, always forward toward the camera, steely-eyed, no words, just shooting. Men of action. Fascism is always about forward movement, isn't it?

Then after the recruitment scene, Nick Nolte's voice-over at 0:55 – 0:57 says "you are to make no arrests, this is off the books" with the camera panning down the City Hall phallus.   
  Then the boys walking toward the camera in front of the building. That's the kind of government we need, a cover for off-the-books operations.
Gosling mocks socialist ethos at 1:00-1:04 ("doesn't seem right that he should have so much while others have so little") – with a two-shot of Emma Stone and Gosling. She's part of the "so much" that Penn "has." She's a possession. 

Then the Penn character shows the depths of societal corruption that will be redeemed by the extra-legal violence of the heroes: "we're standing in the middle of a money-making machine." Images, gambling, then stacked Tommy guns on desk 1:05-1:08. Then,"we got all the whores and dope sown up" – with shots of each (1:10). Then move terror: gangsters shooting at family home with Christmas lights (1:12).
  Then Brolin is addressed at 1:19 as an officer: "you call it Sarge." Paramilitary violence. Brolin rallies the troops -- "we're going to war" -- but again, we're talking about making heroes out of cops who go off-the-books and wage war at home. 
  Brolin continues "there's no glory in this assignment." But the movie is glorifying the selfless heroics of the black-ops crew, who aren't in it for the money – they light piles of it on fire – they are in it to be the redemptive fire cleansing society (1:20 – 1:27).
  Brolin: "You do this, there's no going back" Gosling, with insouciance, "well, you gotta die of something," extinguishing cigarette (daring, devil-may-care, my life isn't worth that much if we can get some action and clean up the corruption). (1:27-1:31)
  Intercutting of "no badges, no names, no mercy," with various violence / brutality / torture (beating a guy tied to a chair). 1:32-1:35.
  Then the boys march ahead (forward motion for the fascists) with explosions in the background. 1:36-1:38. 
Then we get a car careening on edge and Gosling shooting out the window. A suggestion that things are poised on the edge (1:38). 
  Then we get one of the biggest affective punches of the trailer, the Emma Stone / Ryan Gosling sex and violence link. First we get the repartee (1:39-1:46), then some gunshots (1:47-1:49), then a very quick shot of Gosling and Stone in bed, a bit of flesh, with him starting to roll over on top of her (1:50), then Brolin with his shotgun at waist level pointing up and out (1:50-1:51). 
  Now there's a lot to talk about here. The appeal to teen boys of all ages: go off-the-books and you too can fuck Emma Stone! The embarrassing Hollywood Freudianism of shooting = ejaculation; that real men do it from on top (I'd be interested to know if they have an earlier scene of Stone on top of Penn); and that Gosling's conquest of Stone gives Brolin an erection. Of course fascism isn't the only affective style that links male-bonding and male-dominant sex and violence, but the glamorization of that linkage seems to me to resonate strongly with the fascist affective style.

Then at 1:52 – 1:59 we get interspersed credits with character shots. Penn's character says 2:00 – 2:10 "a cop that's not for sale is like a dog with rabies; you just got to put them down." We cut to Brolin walking down a movie theater aisle, then gangsters shooting up a movie theater, bursting through screen. Other than the reckless shooting up of a public space, showing the gangsters' depravity, I have to say the coming through the screen stumped me, and I'd be glad to get help in comments as to what is going on here.
  Now for the ending one-liner, 2:10 – 2:17. We see a gangster on the ground, smirking about the weakness of liberalism, that cops have to respect the rights of gangsters. "You're a cop, you can't shoot me." Gosling does that one-handed load-the-shotgun maneuvers, looks down the barrel of the gun, and says "not anymore." Cold-blooded elimination. Gun flash illuminates his face, then black. Then title. 
  What to make of the one-liner? (1) Gosling is "not anymore" a (regular) cop -- he's off-the-books. Or (2) the special type of cop that Gosling represents is "not anymore" bound to obey a fundamental code of liberal society, that cops use only the amount of force necessary to detain a subject and that they not mete out justice on the spot. Or (3) he's "not anymore" even an off-the-books cop, but a lone wolf. There are two plausible motivations here: (a) Penn has killed Stone, the gun moll, after having discovered her infidelity or (b) Penn has killed Brolin. Either way, Gosling has then broken free of even the black-ops squad to go rogue for personal revenge. I'm not sure if reading 3 of the one-liner resonates with fascist affect, but readings 1 and 2 certainly do.

* * *

Jairus Victor Grove
  University of Hawaii
The 'above the law' hero-cop is an extremely popular figure. It plays into almost all superhero films and certainly all mafia films.  The story is always the same. A frustrated man unable to cope with the violence around him is driven to leave behind the law and follow a higher law. The causal factor is always the extremity of the villain. This is the formula for The Dark Knight as much as the infinite supply of buddy cop movies. It is in fact hard to remember a summer without a revenge flick following this formula. These films also follow a trailer formula. Generally we come to absolve the hero of his illegal acts because he bares some personal cost or loss that redeems the spectacular destruction as an act of sacrifice for the greater good. For a movie to work that is to say for people to want go see it all of this must be felt in the 3 minutes of trailer that will introduce the film. One has to anticipate the enjoyment of the heroes desire to kill. To give a sense of how this is accomplished bellow there is a brief sketch of the trailers for the Untouchables and L.A. Confidential as they are undoubtedly predecessors of Gangster Squad. 

The Untouchables Starting at 1:51: 
  Canadian: I do not approve of your methods.
  Costner/Ness: Yeah, you’re not from Chicago.


In The Untouchables Brian DiPalma stages virtually the same story as Gangster Squad. After all, as the film goes, Al Capone could not be taken down without exceeding the law (the tax evasion part of the story is underplayed compared to the shotgun justice thematic). Sean Connery’s line, ‘he pulls a knife, you pull a gun, he puts of one of your men in the hospital, you put one of his down” is front and center in the trailer for the film. In no uncertain terms it is cold war escalation dominance with period accents and Tommy guns. The trailer in particular is interesting in that the aural sensible is partitioned almost entirely by voice overs until the end in which an aria, Vesti la giubba from Pagliacci, reaches its fever pitch as the violence escalates and our appetites for full spectrum hero vs. mob violence is truly wetted. Obviously arias are common to film climaxes as the opera’s crescendo cant help but make you want the crisis resolved. It pushes you further into the zone of tension fearful the voice will break until it does in the realm of DiPalma and Coppola with a gunshot. One could also say something about the choice of music so inescapably Italian. Although what is interesting is that the aria is supposed to carry us along with the heroes (Anglos, Irishmen, accountants) not the Italian Al Capone. The trailer is held together then by a traditional musicless introduction of key characters, the setting of the stage of heroes and villain, the foreboding presentation of Costner’s wife and kids as the potential sacrifice, and to seal the deal a contextless violent climax set to opera. 

Leading the charge of the Neo-noir aesthetic that owned the late 90’s (and made the new Batman series possible as Memento caries through both the aesthetic of noir and the violence beyond good and evil motif as well) James Ellroy’s LA Confidential is basically the same movie as Gangster Squad although reversed as the two hero cops are originally part of an under the table ‘gangster squad’ that turns out to be a front for running drugs and killing the competition. However of course in LA Confidential the ‘bad’ gangster squad is merely the pretext for Guy Pearce and Russell Crowe to disavow the immoral extra-legal violence of ‘bad cops’ for their own moral  justice/revenge killing spree. In this case the damsel in distress is not L.A. as Nick Nolte says in the Gangster Squad trailer but Kim Bassinger. Again though in the trailer and in the film the music is period appropriate or at least is engineered to sound like what we think this ‘Golden Age’ of Hollywood would sound like. 
  As the tension builds in the trailer you begin to hear the faint violin section growing louder, short staccato attack gives way to a big lush string section typical of many scores of the period all of which sound like Thomas Newman’s score to The Road to Perdition. Beautiful, big, lush, string sections, oversaturated production, lots of music only, slow action sequences, and kill shots. Generally the scores are, I think, to capture the tragedy and the beauty of someone's act of sacrifice. This sets the affective mood to feel good about the enjoyment of killing as it was something that had to be done. I suspect however the real fuel for the enjoyment comes from a baser desire to witness payback or revenge. In this way Russell Crowe’s excessive violence in LA Confidential is already cleansed and ready for enjoyment in the trailer before seeing the film through its juxtaposition with the tragic score and brief sad glances of Kim Bassinger. Although we come to find out Crowe isn't dead, so it's not really sacrifice despite the fact that he got the music for it. Cheating I think. You should have to die to get the whole orchestra.

These trailers and the movies that follow them proceed by the revenge/extreme justice playbook. Justice can exceed the law but at least the secondary heroes have to pay for it with their lives. Kevin Spacey gets it when he becomes noble in L.A. Confidential; in The Untouchables Sean Connery gets gunned down as does the hapless accountant. And we have all of the slow-building sad violin solos to carry us through.

Gangster Squad is more like Fight Club than its predecessor revenge flicks. I think it was Houston Baker that pointed out that the entire Dust Brothers' soundtrack to Fight Club was hip-hop with the black voices removed. The tracks are sampled and rendered entirely instrumental to create the ‘OG (original gangster) sensibility’ but with the voices of Pitt and Norton. This is of course the fantasy of the movie. Pitt and Norton play at the lives that hip-hop reports on. They start a kind of crime club not because they are poor, marginalized, or stolen from Africa, but because they are bored and tired of cornflake blue ties and Ikea furniture.

While Gangster Squad has a strong visual investment in the same Noir period of L.A. as L.A. Confidential no one cues the swing music or tragic string section. As the renegade cops go fully BADASS the striking anachronism of Jay-Z begins to play. There is much that can be said about violence in hip-hop. The best of hip-hop does more to re-present violence than represent violence, to steal a line from Spivak, however in this case neither make sense. The violence of kick-ass, Jay-Z “I am Che Guevara with Bling On” swagger is put to use by the faces of Gosling, Broelin, and Nolte. I think this is what makes this film truly fascistic. It is the full enjoyment of being beyond the law without any cost or necessity to disavow the guilt inducing enjoyment of violence. There is at least in the other movies a cost or a sacrifice to leaving behind the law in favor of divine violence. People get killed, families are drawn in, etc. Things GET REAL. 

In the trailer for Gangster Squad we have one of Jay-Z’s most over the top songs, samples of screams over industrial clanging synthesized to sound like the crash of cymbals and a driving beat, then visually and aurally punctuated by explosions on screen. The Jay-Z song “Oh My God” comes from Kingdom Come, his most triumphant album (in the sense of Triumph of the Will). The production on the whole thing sounds like it was made by the archangels of a self-proclaimed God. Wagner for a new generation. As a result it has none of the texture and ambivalence of earlier albums which is to say it is a crass celebration of speed boats and Lambos in an intermittently brilliant career. The over-the-top production for "Oh My God" is meant to provide the back drop to Jay-Z’s rags to riches, will-to-power, Horatio Alger story with a black, urban twist. Growing up poor with a single Mom and then through the streets to become the godfather of hip-hop intolerant of young upstarts who questioned his authority during his retirement. Kingdom Come is after all the first album Jay-Z made after he called off his retirement. What is clear in both the production of the original song and its strangely out of history placement in Gangster Squad is that at the top, in control is what strong men prove when questioned.

I have always thought the production of Kingdom Come sounded like something Mussolini would have commissioned. Its is a series of hollow anthems and Jay-Z is their nation. This further compounds the horrifying mishmash of references to the war on terrorism, the decline of the city, the public as damsel in distress, such that we have something quite different from The Untouchables and LA Confidential. We have a music video for enjoying violence as violence with a little sexualization on the side. I am not sure if it is worse than the other two movies as they invest authoritarianism with a sense of nobility but it's not better. Just different but a difference that lends itself even more to the affective form of the trailer as the justificatory backstory is barely needed.
  What is at play in the Gangster Squad trailer is also part of an aural racial aesthetic that uses hip-hop as the go-to for the enjoyment of senseless violence. Interesting that the sound of young urban black male identity is now the reservoir for the reclamation of white male machismo that is if the content of the lyrics are sufficiently removed. As vapid as this particular Jay-Z song is Jay's story is a compelling one and all that remains for the trailer are grunts and background vocals. There is also something about the aural racialization of crime and decay at work here that is made more explicit by the use of hip hop but is present in all three films. I think particularly in the case of LA Confidential these movies are nostalgia trips. In these new modern times of urban decay and rampant crime where are OUR heroes willing to sacrifice their honor and reputation for the greater good? Hip-hop in this context is particularly creepy. Every fascist needs an emergency and urban decay has been enough to make the prison industry a bottomless bipartisan pork barrel.

Although again I think the aural aesthetic of Kingdom Come's 'Oh My God' is one of swagger it is after all a comeback album where the king reminds everyone what the penalty for disrespect is. However these other resonance ought not be ignored. 
  As the inclusion of torture by heroes in films is now de rigueur we ought not be surprised by Gangster Squad. And I am not saying all of this to join the chorus of moral panic over senseless violence. What I think is worth taking seriously is the sense that is being made of violence. As a technique of mobilization not unlike singing in battle or national anthems the trailer as a form is something more than merely an advertisement. And as the trailer form seems to work best as a collage of violence and pulse-accelerating music all held together by close ups of a few unforgettable faces it should not surprise us that it is increasingly the format for politics. It should however concern us.