An incisive account of the Persian Gulf War, Storm Over Iraq shows how the success of Operation Desert Storm was the product of two decades of profound changes in the American approach to defense, military doctrine, and combat operations. The first detailed analysis of why the Gulf War could be fought the way it was, the book examines the planning and preparation for war. Richard P. Hallion argues that the ascendancy of precision air power in warfare—which fulfilled the promise that air power had held for more than seventy-five years—reflects the revolutionary adaptation of a war strategy that targets things rather than people, allowing one to control an opposing nation without destroying it.
This exhibition catalogue, accompanying the major building-wide exhibition Theater of Operations: The Gulf Wars 1991-2011, includes four new commissioned texts by scholars of Iraqi art Zainab Bahrani, Rijin Sahakian, and Nada Shabout, as well as a media-focused critique from McKenzie Wark. The book will also feature essays from our curators Ruba Katrib and Peter Eleey, as well as critical reproductions from contemporaneous media artifacts, ranging from the Baghdad Diaries--the personal diaries during Iraqi occupation and sanction of artist Nuha Al-Radi--as well as entries from the still-anonymous blogger Riverbend's Baghdad Burning blog chronicling her time living under occupation, as well as texts from Serge Daney, Jean Baudrillard. As this conflict was the first to disseminate via a 24hr televised news cycle, this publication examines the impact of this period of ongoing conflict and its pervasive effects on visual culture.
The Gulf War of 1991 heralded a new type of warfare that was characterised by astonishing speed and high technology with remarkably low numbers of casualties amongst the coalition forces. Just under a million coalition personnel were deployed to the Gulf region to face a variety of threats from extreme temperatures to weapons of mass destruction (biological, chemical and suspected nuclear) and a formidable Iraqi occupation force. This book assesses the defensive Operation Desert Shield (the build up of coalition forces) and the offensive Operation Desert Storm (the liberation of Kuwait) as well as the key personalities on both sides.
Discover the remarkable history of the Gulf War... The Gulf War took place between August 1990 and February 1991, when Iraq, led by Saddam Hussein, invaded neighboring Kuwait, a small, oil-rich country in the Middle East. His actions horrified and terrified world leaders and average citizens alike, as fears about his use of chemical weapons and his plans for further expansion spurred the United Nations into action. Eventually, a coalition led by the United States would launch a counter-offensive against Iraq, pushing the Iraqis out of Kuwait and placing limits on their military growth for years to come. As the first major global crisis after the collapse of the Soviet Union, the Gulf War was a test in foreign relations and set an important precedent for how the world's superpowers would respond in moments of crisis moving forward. Discover a plethora of topics such as Lead-up to War The Iraqi Invasion of Kuwait The Gulf War Begins: Operation Desert Shield Operation Desert Storm The Gulf War Ends Aftermath: The Fall of Saddam Hussein And much more! So if you want a concise and informative book on the Gulf War, simply scroll up and click the "Buy now" button for instant access!
Integrating interviews with individuals ranging from senior policymakers to frontline soldiers, a look at the Persian Gulf War shows how the conflict transformed modern warfare.
In a provocative analysis written during the unfolding drama of 1992, Baudrillard draws on his concepts of simulation and the hyperreal to argue that the Gulf War did not take place but was a carefully scripted media event--a "virtual" war. Patton's introduction argues that Baudrillard, more than any other critic of the Gulf War, correctly identified the stakes involved in the gestation of the New World Order.
The Iran-Iraq War were one of the longest and most devastating uninterrupted wars amongst modern nation states. It produced neither victor nor vanquished and left the regimes in both countries basically intact. However, it is clear that the domestic, regional and international repercussions of the war mean that 'going back' is not an option. Iraq owes too much to regain the lead it formerly held in economic performance and development levels. What then does reconstruction mean? In this book, Kamran Mofid counteracts the scant analysis to date of the economic consequences of the Gulf War by analysing its impact on both economies in terms of oil production, exports, foreign exchange earnings, non-defence foreign trade and agricultural performance. In the final section, Mofid brings together the component parts of the economic cost of the war to assign a dollar value to the devastation.
Why did America invade Iraq? Why do nations choose to fight certain wars and not others? How do we bring ourselves to believe that the sacrifice of our troops is acceptable? For most, the answers to these questions are tied to struggles for power or resources and the machinations of particular interest groups. Philip Smith argues that this realist answer to the age-old "why war?" question is insufficient. Instead, Smith suggests that every war has its roots in the ways we tell and interpret stories. Comprised of case studies of the War in Iraq, the Gulf War, and the Suez Crisis, Why War? decodes the cultural logic of the narratives that justify military action. Each nation, Smith argues, makes use of binary codes—good and evil, sacred and profane, rational and irrational, to name a few. These codes, in the hands of political leaders, activists, and the media, are deployed within four different types of narratives—mundane, tragic, romantic, or apocalyptic. With this cultural system, Smith is able to radically recast our "war stories" and show how nations can have vastly different understandings of crises as each identifies the relevant protagonists and antagonists, objects of struggle, and threats and dangers. The large-scale sacrifice of human lives necessary in modern war, according to Smith, requires an apocalyptic vision of world events. In the case of the War in Iraq, for example, he argues that the United States and Britain replicated a narrative of impending global doom from the Gulf War. But in their apocalyptic account they mistakenly made the now seemingly toothless Saddam Hussein once again a symbol of evil by writing him into the story alongside al Qaeda, resulting in the war's contestation in the United States, Britain, and abroad. Offering an innovative approach to understanding how major wars are packaged, sold, and understood, Why War? will be applauded by anyone with an interest in military history, political science, cultural studies, and communication.
