ABSTRACT
This chapter examines aesthetic ambiguity in films that address covert military operations and asks if the flexibility of their stance toward rendition inadvertently or intentionally lends support to ambiguity and unknowing as fundamental ethical structures of public discourse. Fast carries out the interviews himself, his presence in the film a testimony to its self-reflexive ambitions and a common practice in other works one will discuss momentarily, especially Trevor Paglen's. The film trains the watchful eye and deadly strikes of the drone program on US soil and US civilians in a way that dissolves the boundaries of reality and fiction. The Obama administration introduced an idiom around military precision that sheds new light on what counts as the provisionality and specificity of ethical thought. The Brits are captured by the in Kandahar and finally held at Guantanamo Bay for several months. The consciousness projected by the film does not run along spatial lines or boundaries of any kind.
