ABSTRACT
The chapter explores the ‘aesthetic frames’ of national security in the post 9/11 age of terror, through Enrique Urbizu’s No habrá paz para los malvados (No Peace for the Wicked, 2011). López Lerma situates the film in a post-Western aesthetics that recycles themes and styles of classical Western cinema to actively interrupt and modify its main assumptions. While at the narrative level the film reinforces the moral landscape that Rancière has analyzed under the heading of the ‘ethical turn’, the chapter shows that its aesthetics reconfigures the sense(s) of security and justice constructed by the state police and the media.
