Examines how the US-Mexico border is seen through visual codes of
surveillance When Donald Trump promised to "build a wall" on the
U.S.-Mexico border, both supporters and opponents visualized a
snaking barrier of concrete cleaving through nearly two thousand
miles of arid desert. Though only 4 percent of the US population
lives in proximity to the border, imagining what the wall would
look like came easily to most Americans, in part because of how
images of the border are reproduced and circulated for national
audiences. Border Optics considers the US-Mexico border as one of
the most visualized and imagined spaces in the US. As a place of
continual crisis, permanent visibility, and territorial defense,
the border is rendered as a layered visual space of policing-one
that is seen from watchtowers, camera-mounted vehicles,
helicopters, surveillance balloons, radar systems, unmanned aerial
vehicles, and live streaming websites. It is also a space that is
visualized across various forms and genres of media, from maps to
geographical surveys, military strategic plans, illustrations,
photographs, postcards, novels, film, and television, which combine
fascination with the region with the visual codes of surveillance
and survey. Border Optics elaborates on the expanded vision of the
border as a consequence of the interface of militarism, technology,
and media. Camilla Fojas describes how the perception of the
viewing public is controlled through a booming security-industrial
complex made up of entertainment media, local and federal police,
prisons and detention centers, the aerospace industry, and all
manner of security technology industries. The first study to
examine visual codes of surveillance within an analysis of the
history and culture of the border region, Border Optics is an
innovative and groundbreaking examination of security cultures,
race, gender, and colonialism.
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