anthem for this simulated conflict is indicative of how cinematic reality completely
falsifies history itself. When the Baudrillardian discourse of the good effaces evil outside
of a hyper-real caricature disseminated through a ubiquitous screenplay which
incessantly assaults our senses with sophisticated graphics, atrocities are white-washed
or even ignored entirely. The central thesis of Levinson’s film and Baudrillard’s
philosophical theories about war and its hyper-real representation could be summarized
as follows: welcome to the death of meaning, history, violence, and morality.
Regardless of the plethora of comical scenes in Wag the Dog that hold the viewer’s
attention, the integral reality of informational warfare is no laughing matter.
References
Abbinnett, Ross. “The Spectre and