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Terrorism as TheaterBy Robert D. Kaplan The beheading of American journalist James Foley by the Islamic State in Syria and Iraq was much more than an altogether gruesome and tragic affair: rather, it was a very sophisticated and professional film production deliberately punctuated with powerful symbols. Foley was dressed in an orange jumpsuit reminiscent of the Muslim prisoners held by the United States at Guantanamo Bay. He made his confession forcefully, as if well rehearsed. His executioner, masked and clad in black, made an equally long statement in a calm, British accent, again, as if rehearsed. It was as if the killing was secondary to the message being sent.
The killing, in other words, became merely the requirement to send the message. As experts have told me, there are more painful ways to dispatch someone if you really hate the victim and want him to suffer. You can burn him alive. You can torture him. But beheading, on the other hand, causes the victim to lose consciousness within seconds once a major artery is cut in the neck, experts say. Beheading, though, is the best method for the sake of a visually dramatic video, because you can show the severed head atop the chest at the conclusion. Using a short knife, as in this case, rather than a sword, also makes the event both more chilling and intimate. Truly, I do not mean to be cruel, indifferent, or vulgar. I am only saying that without the possibility of videotaping the event, there would be no motive in the first place to execute someone in such a manner. In producing a docu-drama in its own twisted way, the Islamic State was sending the following messages: Read more » | ||||||
