Description : In Film and Television after 9/11, twelve distinguished scholars and critics discuss the production, reception, and distribution of Hollywood and foreign films after the terrorist attacks of September 11, 2001, and examine how movies have changed to reflect the new world climate. While some contemporary films offer escapism, the bulk of mainstream American cinema since 9/11 seems centered on the desire to replicate the idea of the ""just war,"" in which military reprisals and escalation of warfare appear to be both inevitable and justified. Films such as Black Hawk Down, Collateral Damage, and We Were Soldiers reflect a renewed audience appetite for narratives of conflict, reminiscent of the wave of filmmaking that surrounded American involvement in World War II. The attacks on the World Trade Center in New York and the Pentagon in Washington have galvanized the American public into a call for action and film critics wonder how this will play out in the months and years to come. How will American films shape the perspectives of other nations? What sort of dialogue do post-9/11 films establish? How do we now re-view the films of our shared cinematic past in light of these recent events? And are we about to replay the events of the 1940s and 1950s, albeit in a hyperstylized, MTV edited format? With an introduction by editor Wheeler Winston Dixon and original essays by leading cinema scholars, Film and Television after 9/11 is the first book to offer critical insights to these and other concerns.
Description : This diverse collection of essays analyzes popular culture texts—including novel, films, and television shows—that demonstrate a variety of attitudes in the wake of the September 11, 2001 attacks.
Description : This book analyzes post-9/11 literature, film, and television through an interdisciplinary lens, taking into account contemporary debates about spatial practices, gentrification, cosmopolitanism, memory and history, nostalgia, the uncanny and the abject, postmodern virtuality, the politics of realism, and the economic and social life of cities. Featuring an international group of scholars, the volume theorizes how literary and visual representations expose the persistent conflicts that arise as cities rebuild in the shadow of past ruins.
Description : Applying melancholia as an analytical concept, Christina Cavedon’s Cultural Melancholia: US Trauma Discourses Before and After 9/11 discusses novels by Jay McInerney and Don DeLillo in light of an American cultural malaise pre-dating the terrorist attacks of September 11, 2001.
Description : Analyzes the impact of September 11 on popular culture, citing specific albums, films, television show, and works of art influenced by the terrorist attacks.
Description : Cinematic Terror takes a uniquely long view of filmmakers' depiction of terrorism, examining how cinema has been a site of intense conflict between paramilitaries, state authorities and censors for well over a century. In the process, it takes us on a journey from the first Age of Terror that helped trigger World War One to the Global War on Terror that divides countries and families today. Tony Shaw looks beyond Hollywood to pinpoint important trends in the ways that film industries across Europe, North and South America, Asia, Africa and the Middle East have defined terrorism down the decades. Drawing on a vast array of studio archives, government documentation, personal interviews and box office records, Shaw examines the mechanics of cinematic terrorism and challenges assumptions about the links between political violence and propaganda.
Description : Parallel Lines describes how post-9/11 cinema, from Spike Lee's 25th Hour (2002) to Kathryn Bigelow's Zero Dark Thirty (2012), relates to different, and competing, versions of US national identity in the aftermath of the September 11 terrorist attacks. The book combines readings of individual films (World Trade Center, United 93, Fahrenheit 9/11, Loose Change) and cycles of films (depicting revenge, conspiracy, torture and war) with extended commentary on recurring themes, including the relationship between the US and the rest of the world, narratives of therapeutic recovery, questions of ethical obligation. The volume argues that post-9/11 cinema is varied and dynamic, registering shock and upheaval in the immediate aftermath of the attacks, displaying capacity for critique following the Abu Ghraib prisoner abuse scandal mid-decade, and seeking to reestablish consensus during Obama's troubled second term of office.
Description : From Solidarity to Schisms is the first collection to expand discussions of the effects the events of 11 September 2001 and their aftermath have had on fiction and film beyond an exclusively US-based focus. The essays brought together here go beyond critiquing the US to examine the cultural shifts taking place in fiction and cinema from places such as Britain, France, Germany, Australia, Pakistan, Canada, Israel, and Iran. From these many sites of production, the works discussed in this collection illustrate more precisely how 9/11 was “global” without succumbing to neat categorizations, such as “us vs. them,” “East vs. West,” “Christianity vs. Islam,” and so on.From Solidarity to Schisms is an important supplement to the US-centered cultural and critical production addressing 9/11, providing researchers and teachers alike with resources and contexts that will allow them to broaden their own examinations of novels and films by Americans and about the US. It also provides a valuable resource for students and scholars of contemporary global history and international politics who are interested in approaching 9/11, terrorism and counter-terrorism, and related topics from a cultural standpoint.
Description : Symbolic representation is a crucial subject for and a potent heuristic instrument of diaspora studies. This special focus inquires into the forms and functions of symbols of diaspora both in aesthetic practice and in critical discourse, analyzing and theorizing symbols from Shakespeare to Bollywood as well as in critical writings of theorists of diaspora. What kinds of symbols and symbolic practices, contributors ask, are germane to the representation, both emic and etic, of diasporics and diasporas? How are specific symbols and symbolic practices analyzed across the academic fields contributing to diaspora studies? Which symbols and symbolic practices inform the academic study of diasporas, sometimes unconsciously or without being remarked on? To study these phenomena is to engage in a dialogue that aims at refining the theoretical and methodological vocabulary and practice of truly transdisciplinary diaspora studies while attending to the imperative of specificity that inheres in this emerging field. The volume collects a range of analyses from social anthropology, history and ethnography to literary and film studies, all combining readings of individual symbolic practices with meta-theoretical reflections.
Description : Popular culture often champions freedom as the fundamentally American way of life and celebrates the virtues of independence and self-reliance. But film and television have also explored the tension between freedom and other core values, such as order and political stability. What may look like healthy, productive, and creative freedom from one point of view may look like chaos, anarchy, and a source of destructive conflict from another. Film and television continually pose the question: Can Americans deal with their problems on their own, or must they rely on political elites to manage their lives? In this groundbreaking work, Paul A. Cantor explores the ways in which television shows such as Star Trek, The X-Files, South Park, and Deadwood and films such as The Aviator and Mars Attacks! have portrayed both top-down and bottom-up models of order. Drawing on the works of John Locke, Adam Smith, Alexis de Tocqueville, and other proponents of freedom, Cantor contrasts the classical liberal vision of America -- particularly its emphasis on the virtues of spontaneous order -- with the Marxist understanding of the "culture industry" and the Hobbesian model of absolute state control. The Invisible Hand in Popular Culture concludes with a discussion of the impact of 9/11 on film and television, and the new anxieties emerging in contemporary alien-invasion narratives: the fear of a global technocracy that seeks to destroy the nuclear family, religious faith, local government, and other traditional bulwarks against the absolute state.