American Cinema in the Shadow of 9/11


Book Description

American Cinema in the Shadow of 9/11 is a ground-breaking collection of essays by some of the foremost scholars writing in the field of contemporary American film. Through a dynamic critical analysis of the defining films of the turbulent post-9/11 decade, the volume explores and interrogates the impact of 9/11 and the 'War on Terror' on American cinema and culture. In a vibrant discussion of films like American Sniper (2014), Zero Dark Thirty (2012), Spectre (2015), The Hateful Eight (2015), Lincoln (2012), The Mist (2007), Children of Men (2006), Edge of Tomorrow (2014) and Avengers: Age of Ultron (2015), noted authors Geoff King, Guy Westwell, John Shelton Lawrence, Ian Scott, Andrew Schopp, James Kendrick, Sean Redmond, Steffen Hantke and many others consider the power of popular film to function as a potent cultural artefact, able to both reflect the defining fears and anxieties of the tumultuous era, but also shape them in compelling and resonant ways.




Terrorism in American Cinema


Book Description

The American cinema of terrorism, although coming to prominence primarily in the 1970s amidst high-profile Palestinian terrorist activity, actually dates back to the beginnings of the Cold War. But this early terrorist cinema was centered largely around the Bomb--who had it, who would use it, when--and differs greatly from the terrorist cinema that would follow. Changing world events soon broadened the cinema of terrorism to address emerging international conflicts, including Black September, pre-9/11 Middle Eastern conflicts, and the post-9/11 "War on Terror." This analytical filmography of American terrorist films establishes terrorist cinema as a unique subgenre with distinct thematic narrative and stylistic trends. It covers all major American films dealing with terrorism, from Otto Preminger's Exodus (1960) to Ridley Scott's Body of Lies (2008).




Firestorm


Book Description

It was believed that September 11th would make certain kinds of films obsolete, such as action thrillers crackling with explosions or high-casualty blockbusters where the hero escapes unscathed. While the production of these films did ebb, the full impact of the attacks on Hollywood's creative output is still taking shape. Did 9/11 force filmmakers and screenwriters to find new methods of storytelling? What kinds of movies have been made in response to 9/11, and are they factual? Is it even possible to practice poetic license with such a devastating, broadly felt tragedy? Stephen Prince is the first scholar to trace the effect of 9/11 on the making of American film. From documentaries like Fahrenheit 9/11 (2004) to zombie flicks, and from fictional narratives such as The Kingdom (2007) to Mike Nichols's Charlie Wilson's War (2007), Prince evaluates the extent to which filmmakers have exploited, explained, understood, or interpreted the attacks and the Iraq War that followed, including incidents at Abu Ghraib. He begins with pre-9/11 depictions of terrorism, such as Alfred Hitchcock's Sabotage (1936), and follows with studio and independent films that directly respond to 9/11. He considers documentary portraits and conspiracy films, as well as serial television shows (most notably Fox's 24) and made-for-TV movies that re-present the attacks in a broader, more intimate way. Ultimately Prince finds that in these triumphs and failures an exciting new era of American filmmaking has taken shape.




Reel Bad Arabs


Book Description

A groundbreaking book that dissects a slanderous history dating from cinema’s earliest days to contemporary Hollywood blockbusters that feature machine-gun wielding and bomb-blowing "evil" Arabs Award-winning film authority Jack G. Shaheen, noting that only Native Americans have been more relentlessly smeared on the silver screen, painstakingly makes his case that "Arab" has remained Hollywood’s shameless shorthand for "bad guy," long after the movie industry has shifted its portrayal of other minority groups. In this comprehensive study of over one thousand films, arranged alphabetically in such chapters as "Villains," "Sheikhs," "Cameos," and "Cliffhangers," Shaheen documents the tendency to portray Muslim Arabs as Public Enemy #1—brutal, heartless, uncivilized Others bent on terrorizing civilized Westerners. Shaheen examines how and why such a stereotype has grown and spread in the film industry and what may be done to change Hollywood’s defamation of Arabs.




Horror after 9/11


Book Description

Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.




Reframing 9/11


Book Description

A collection of analyses focusing on popular culture as a profound discursive site of anxiety and discussion about 9/11 and demystifies the day's events.




American Lightning


Book Description

It was an explosion that reverberated across the country—and into the very heart of early-twentieth-century America. On the morning of October 1, 1910, the walls of the Los Angeles Times Building buckled as a thunderous detonation sent men, machinery, and mortar rocketing into the night air. When at last the wreckage had been sifted and the hospital triage units consulted, twenty-one people were declared dead and dozens more injured. But as it turned out, this was just a prelude to the devastation that was to come. In American Lightning, acclaimed author Howard Blum masterfully evokes the incredible circumstances that led to the original “crime of the century”—and an aftermath more dramatic than even the crime itself. With smoke still wafting up from the charred ruins, the city’s mayor reacts with undisguised excitement when he learns of the arrival, only that morning, of America’s greatest detective, William J. Burns, a former Secret Service man who has been likened to Sherlock Holmes. Surely Burns, already world famous for cracking unsolvable crimes and for his elaborate disguises, can run the perpetrators to ground. Through the work of many months, snowbound stakeouts, and brilliant forensic sleuthing, the great investigator finally identifies the men he believes are responsible for so much destruction. Stunningly, Burns accuses the men—labor activists with an apparent grudge against the Los Angeles Times’s fiercely anti-union owner—of not just one heinous deed but of being part of a terror wave involving hundreds of bombings. While preparation is laid for America’s highest profile trial ever—and the forces of labor and capital wage hand-to-hand combat in the streets—two other notable figures are swept into the drama: industry-shaping filmmaker D.W. Griffith, who perceives in these events the possibility of great art and who will go on to alchemize his observations into the landmark film The Birth of a Nation; and crusading lawyer Clarence Darrow, committed to lend his eloquence to the defendants, though he will be driven to thoughts of suicide before events have fully played out. Simultaneously offering the absorbing reading experience of a can’t-put-it-down thriller and the perception-altering resonance of a story whose reverberations continue even today, American Lightning is a masterpiece of narrative nonfiction.




Screens of Terror


Book Description

The essays in this collection first came together at a conference, held at London South Bank University's Centre for Media and Culture Research in September 2010, on representations of the 'war on terror' in film and television.




Terrorism TV


Book Description

The Fox-TV series 24 might have been in production long before its premier just two months after 9/11, but its storyline—and that of many other television programs—has since become inextricably embedded in the nation's popular consciousness. This book marks the first comprehensive survey and analysis of War on Terror themes in post-9/11 American television, critiquing those shows that—either blindly or intentionally—supported the Bush administration's security policies. Stacy Takacs focuses on the role of entertainment programming in building a national consensus favoring a War on Terror, taking a close look at programs that comment both directly and allegorically on the post-9/11 world. In show after show, she chillingly illustrates how popular television helped organize public feelings of loss, fear, empathy, and self-love into narratives supportive of a controversial and unprecedented war. Takacs examines a spectrum of program genres—talk shows, reality programs, sitcoms, police procedurals, male melodramas, war narratives—to uncover the recurrent cultural themes that helped convince Americans to invade Afghanistan and Iraq and compromise their own civil liberties. Spanning the past decade of the ongoing conflict, she reviews not only key touchstones of post-9/11 popular culture such as 24, Rescue Me, and Sleeper Cell, but also less remarked-upon but relevant series like JAG, Off to War, Six Feet Under, and Jericho. She also considers voices of dissent that have emerged through satirical offerings like The Daily Show and science fiction series such as Lost and Battlestar Galactica. Takacs dissects how the War on Terror has been broadcast into our living rooms in programs that routinely offer simplistic answers to important questions—Who exactly are we fighting? Why do they hate us?—and she examines the climate of fear and paranoia they've created. Unlike cultural analyses that view the government's courting of Hollywood as a conspiracy to manipulate the masses, her book considers how economic and industry considerations complicate state-media relations throughout the era. Terrorism TV offers fresh insight into how American television directly and indirectly reinforced the Bush administration's security agenda and argues for the continued importance of the medium as a tool of collective identity formation. It is an essential guide to the televisual landscape of American consciousness in the first decade of the twenty-first century.




Post-9/11 Heartland Horror


Book Description

This book explores the resurgence of rural horror following the events of 9/11, as a number of filmmakers, inspired by the films of the 1970s, moved away from the characteristic industrial and urban settings of apocalyptic horror, to return to American heartland horror. Examining the revival of rural horror in an era of city fear and urban terrorism, the author analyses the relationship of the genre with fears surrounding the Global War on Terror, exploring the films’ engagement with the political repercussions of 9/11 and the ways in which traces of traumatic events leave their mark on cultures. Arranged around the themes of dissent, patriotism, myth, anger and memorial, and with attention to both text and socio-cultural context in its interpretation of the films’ themes, Post-9/11 Heartland Horror offers a series of case studies covering a ten-year period to shed light on the manner in which the Post-9/11 Heartland Horror films scrutinize and unravel the events, aspirations, anxieties, discourses, dogmas, and socio-political conflicts of the post-9/11 era. As such, it will appeal to scholars and students of film studies, cultural studies and media studies, and those with interests in the relationship between popular culture and politics.