The purpose of this thesis is to shed light on the violence inherent in the image as a semiotic-material agent in contemporary warfare. In the 21st century, the armed military drone, an image-centered weapon, has spearheaded the geopolitical curatorship of the USA in the context of the war on terror. In the wake of the entanglement between Washington and Hollywood, it is observed that drone violence shares the same characteristics as cinema: image and movement. However, a drone s image is not purely a reflection of the nature of war; it is more than representational, it is performative. Building upon the concept of annihilation-image, this thesis argues that the image wields a destructive agency as it transitions from reflection to diffraction (Haraway, 1992; Barad, 2007). Rather than mirroring reality, annihilation-image creates a brutal pattern of difference in the world. It is a destructive ontology in which seeing and annihilating are in a state of superposition. Therefore, everything that is framed is potentially dead. That is to say, by framing bodies and objects in the terrain, a state of superpositional violence is created in which one is alive, but virtually dead. This movement is driven by a strong transdisciplinary appeal, in which the discipline of International Relations (IR) is informed by concepts and ideas from Philosophy, Art History, Cultural Studies, and Film Studies. The development of the concept of annihilation-image is the result of the combination of Gilles Deleuze s philosophy (Deleuze and Guattari, 1996), understood as a practice that create concepts, and Michael Shapiro s approach (2020), which seeks to extract political theory from cinematic images. For the purpose of this exercise, we examine the film Eye in the Sky (2015), directed by Gavin Hood. The choice of this cinematic work is derived from its widely positive critical acclaim, as well as its status as a film that exposes the reality of drone warfare. Thus, this thesis contributes to both the understanding of the sociotechnical imaginaries of contemporary warfare within the war-image-cinema continuum and to the epistemic and methodological innovation in (IR).