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Film and Television After 9/11, by Wheeler Winston Dixon
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In Film and Television After 9/11, editor Wheeler Winston Dixon and eleven other distinguished film scholars discuss the production, reception, and distribution of Hollywood and foreign films after the terrorist attacks of September 11, 2001, and examine how moviemaking has changed to reflect the new world climate.
While some contemporary films offer escapism, much of mainstream American cinema since 9/11 is centered on the desire for a “just war” in which military reprisals and escalation of warfare appear to be both inevitable and justified. Films of 2002 such as Black Hawk Down, Collateral Damage, and We Were Soldiers demonstrate 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 and the Pentagon galvanized the American public initially, yet film critics wonder how this will play out over time. Film and Television After 9/11 is the first book to provide original insights into topics ranging from the international reception of post-9/11 American cinema, re-viewing films of our shared cinematic past in light of the attacks, and exploring parallels between post-9/11 cinema and World War II-era productions.
- Sales Rank: #2383070 in Books
- Published on: 2004-01-23
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .70" w x 6.00" l, .83 pounds
- Binding: Paperback
- 272 pages
Most helpful customer reviews
2 of 2 people found the following review helpful.
Good for what it is
By S. Sherman
When I saw the title of this book and ordered it, I thought (as implied by the title) that it was using 9-11 to mark off a time period, and would offer some essays about television and film since then. This is not really what this text is. Published in 2004, but probably written mostly a good deal earlier, the event of 9-11 itself weighs very heavily in virtually all of the essays. I would say 'Film and Television in light of 9-11' would probably be a better title. A couple of the essays in fact deal with how films (specifically 'Manhatta' and 'King Kong', as well as Holocaust documentaries) made before 9-11 appear afterward.
Most of the essays subvert the aura of American exceptionalism (i.e. the mentality that this is the most awful thing to happen to anyone) that surrounds 9-11. Some look at the ways 9-11 was projected into culture, for example the effort to cut the Twin Towers from several projects in the pipeline on 9-11. Whether the towers were cut (incurring the wrath of those who claimed that therefore 'the terrorists won') or not (and thereby eliciting disruptive cheers from audiences when they appeared, as in Glitter) their presence was deeply felt. Another essay describes the way the most disturbing footage filmed on 9-11 has not been screened, and how this footage is slowly emerging on the internet. The author suggests that this will help demystify the event. Relevant, but relatively unknown, foreign films, such as the European collaborative film 9'11''01 (which compared 9-11 to a number of events around the world, practically a taboo in the US) are also described. In the aforementioned essay discussing Manhatta, the way in which the twin towers embodied a sort of monumental modernity that quashed what stood in its way, replacing it with a flat, mathematical order, is noted. This sort of modernity produces targets of terrorism (we might add it finds its opposite in the geography of Afghanistan, where, as Donald Rumsfeld noted, the US military quickly ran out of targets to bomb). The now almost forgotten thriller 'The Sum of All Fears' shows up in several essays, since its depiction of a nuclear bomb detonating in Baltimore makes it relevant. This film made little lasting impact on American culture, suggesting the perils of trying to produce this sort of book so quickly after the event in question. An essay on Malkmalbaf's 'Khandahar' makes an odd reference to NATO troops in Afghanistan as 'peacekeepers' (they are not, by practically any definition of that term), suggesting unintentionally possible complicity of this film with this liberal imperialist mission. One essay describes 24, but only the first season. The show really focused more aggressively on 9-11 themes from the second season on, although the writer's suggestion that the alliance between Jack Bauer and presidential candidate David Palmer echoes the alliance between fire fighters and upper middle class financial workers in the offices attacked on 9-11 is intriguing. The essay comparing the mythology of King Kong-the return of the repressed of the third world, coming to Manhattan, and, in the 1970s version, scaling the Twin Towers--and its relation to Bin Laden was quite good.
The essays in this book are generally interesting. This is a topic it would be worth returning to, now that a good deal of time has past and more perspective can be brought to bear.
3 of 8 people found the following review helpful.
my son used this book for a social studies project on 9/11
By Judith L. Ott Allen
and he took finalist honors in the state competition....this book is very impressive with it's breadth and depth of study....definitely worthwhile reading
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