Abstract

This paper explores the way in which America—a cultural space produced by the world's largest media corporations and not the political entity called the United States— constructs, both discursively and spatially, zones of violence and zones of safety, contributing in the process to the maintenance and acclamation of political/symbolic global order. Through “thick descriptions” of three zones—EPCOT Center in Walt Disney World in Florida, as the ultimate safe zone; a day of media coverage of the Kosovo intervention in 1999, the epitomy of a constructed zone of violence; and a reinterpretation of debates over media violence in the United States as the way of policing the zones of safety and zones of violence—the paper argues that zoning was the principal practice with which the self-content narrative of global economic success confronted the onslaught of alleged cultural violence in the 1990s. Zoning, to use Giorgio Agamben's analysis, is the forceful localization of an ever-expanding suspension of legal order; the practice that obfuscates the increasing frequency with which sovereign power encounters—and obliterates—bare life with impunity. Construction of boundaries between zones of safety and zones of violence is, therefore, more than performance of security—it is the way to affirm global order in face of its absence.