ABSTRACT
This chapter offers a synthesis of work from Security Studies and Cultural Studies in order to trace the link between popular culture and security. It brings in examples from an analysis that applied this approach to an analysis of the television series Homeland, which considers both the meaning within Homeland and the process of meaning making by members of the show's British audience. The chapter makes the link between terrorism and television, putting forward a critical narrative approach to security. It speaks to those who are interested in the representation and discursive construction of terrorism, as well as those from other fields who are interested in the relationship between popular culture and world politics. The chapter argues that work on popular culture and world politics should pay attention to the text's audiences. It challenges the boundaries of Security Studies to argue for the inclusion of the politics of identity, emotion, and the everyday.
