Parallel lines : post-9/11 American cinema /
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 11th terrorist attacks. The book combines readings of indiv...
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| Format: | Electronic eBook |
| Language: | English |
| Published: |
New York :
Wallflower Press,
[2014]
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| Subjects: | |
| Online Access: |
Full text (Emmanuel users only) |
MARC
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| 100 | 1 | |a Westwell, Guy, |e author. | |
| 245 | 1 | 0 | |a Parallel lines : |b post-9/11 American cinema / |c Guy Westwell. |
| 264 | 1 | |a New York : |b Wallflower Press, |c [2014] | |
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| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Cover ; Title Page; Copyright; Contents ; Acknowledgments; Introduction; Uncertainty; Unity; Conspiracy; The Return to Ground Zero; The End of the World; The September 11 Syndrome; Torture; The Iraq War; History; Notes; Filmography; Bibliography; Index. | |
| 520 | |a 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 11th 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. | ||
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| 650 | 0 | |a September 11 Terrorist Attacks, 2001, in motion pictures. | |
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