n this sense Gibson is their Saviour, the savage god.

The goal of Gibson’s film is not purification or faith or love or piety. His goal is the sado-masochistic bludgeoning of the audience so that they will become abject subjects on their knees, but full of rage, eager to find some way to “do unto others” the violence that has been done unto them. There is no contradiction here; rather an insight into the way in which eros and thanatos become one in Gibson’s film. The libidinous and the violently aggressive are fused in a new constellation. Sado-masochistic spectacle is now the condition of cinematic pleasure. Contra Laura Mulvey the gaze of the camera is now fixated not on eroticized (though passive) women but on suffering male bodies in extremes of excruciating pain. The Nazi pleasure dome is achieved. In the Christ Gibson finds the homoerotic ur-text behind the Nazi love of the beautiful blonde boy his taut body blossoming with his own blood at each bite of the whip.
http://www.counterpunch.org/davis06192004.html

A terrible envy underlies Abu Ghraib, one that has been working on the psychotic register of the American psyche since 9-11. Islamic fundamentalists have something we lack. They are willing to die for their religion. We can have only one response to such an affront. They must be forced to violate their religious beliefs and to do so as part of a perverse ritual. In this regard two images from Abu Ghraib are especially revealing. The man masturbating before his torturers forced while doing so to curse Islam. The father and son, hoods ripped off, confronting one another’s nakedness.


In Abu Ghraib sexual debasement is staged as an act of violence on a passive victim who is forced to perform perverse actions for the sexual satisfaction of a power that makes no attempt to hide its perversity nor the glee it derives from that perversity. As such Abu Ghraib is not the staging of sexuality but a perverse parody of it. The attempt of these soldiers is to convince themselves that they have what the photographs reveal they lack: an autonomous sexual identity. The empty mindless looks on the faces is the most revealing thing about these photographs. Like Gibson’s Passion, Abu Ghraib is the actions that must be taken to escape the void, to escape a condition in which the death of affect is the truth of subjectivity. Sado-masochism again strides forth to fill the breach because it is the one expression adequate to the fascism of the heart: the attempt to reduce the other to the conditions of a thing in order to celebrate a feeling of power free of and contemptuous of all moral and human restraints.

Let us not understate the goal of torture at Abu Ghraib: to destroy the soul—the ability to go on being-- of those one tortures. And lest one miss the point walk for five minutes in the shoes of the men who had to say to themselves I betrayed my religion in order to save my life.