Terrorism as Theater
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. Continue reading