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By Wheeler Winston Dixon

ISBN-10: 080932556X

ISBN-13: 9780809325566

In movie and tv After 11th of September, editor Wheeler Winston Dixon and 11 different unique movie students speak about the construction, reception, and distribution of Hollywood and overseas movies after the terrorist assaults of September eleven, 2001, and look at how moviemaking has replaced to mirror the recent global climate. While a few modern motion pictures supply escapism, a lot of mainstream American cinema on the grounds that Sep 11 is headquartered at the wish for a “just struggle” during which army reprisals and escalation of war seem to be either inevitable and justified. motion pictures of 2002 comparable to Black Hawk Down, Collateral harm, and We have been infantrymen show a renewed viewers urge for food for narratives of clash, similar to the wave of filmmaking that surrounded American involvement in international struggle II. The assaults at the global alternate middle and the Pentagon galvanized the yankee public first and foremost, but movie critics ask yourself how it will play out over the years. movie and tv After 11th of September is the 1st e-book to supply unique insights into subject matters starting from the foreign reception of post-9/11 American cinema, re-viewing motion pictures of our shared cinematic previous in gentle of the assaults, and exploring parallels among post-9/11 cinema and global warfare II-era productions.

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Extra resources for Film and Television After 9 11

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As I recall it now, the mood at the time was primarily one of surprise and confusion and worry. It wasn’t really one of fear or sadness or anger just yet—though of course all of these emotions would come soon enough, and in massive supplies of each. At that point, the vision confronting us was just too weird and too inexplicable to assimilate, because there was no firm sense that what we were seeing was in fact a well-planned, horrifyingly successful attack on American lives by foreign terrorists, and because the scale of the damage, though obviously substantial, still seemed restricted to a relatively small area of the twin towers high in the sky above Manhattan proper.

It is the status and significance of the former twin towers as objects of nostalgia for post-9/11 cinema to which I shall now turn. It is more than a little ironic that while the mind-boggling footage of the towers’ collapse was constantly being replayed on the television news in the days immediately after September 11—thereby allowing viewers to satisfy a somewhat masochistic, if not sadistic, desire to reexperience our collective trauma—shots of the former World Trade Center were deleted from a number of Hollywood feature films made for the most part prior to the attacks and slated for late 2001 and early 2002 release dates across the United States.

Federal Trade Commission. Sept. 11, 2002. htm>. Introduction Menard, Louis. ” New Yorker Sept. 16, 2002: 98– 104. ” Guardian Unlimited Online. Sept. 11, 2002. html>. Nguyen, Katie. com. Sept. 11, 2002. hl=ISO8859-1&q=%F11+movies>. org. S. Sept. 11, 2002. html>. com. Sept. 5, 2002. Sept. 11, 2002. shtml>. Nugent, Benjamin. com. Sept. 11, 2002. html>. Perlez, Jane. S. ” International Herald Tribune Sept. 12, 2002: 8. Preston, Julia. N. ” New York Times Sept. 6, 2002: A10. Ridgeway, James. ” Village Voice Sept.

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Film and Television After 9 11 by Wheeler Winston Dixon


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