Parallel Lines : : Post-9/11 American Cinema / / Guy Westwell.
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 individ...
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Superior document: | Title is part of eBook package: De Gruyter Columbia University Press Complete eBook-Package 2014-2015 |
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Place / Publishing House: | New York, NY : : Columbia University Press, , [2014] ©2014 |
Year of Publication: | 2014 |
Language: | English |
Online Access: | |
Physical Description: | 1 online resource (240 p.) |
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100 | 1 | |a Westwell, Guy, |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
245 | 1 | 0 | |a Parallel Lines : |b Post-9/11 American Cinema / |c Guy Westwell. |
264 | 1 | |a New York, NY : |b Columbia University Press, |c [2014] | |
264 | 4 | |c ©2014 | |
300 | |a 1 online resource (240 p.) | ||
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505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Acknowledgements -- |t Introduction -- |t Uncertainty -- |t Unity -- |t Conspiracy -- |t The Return to Ground Zero -- |t The End of the World -- |t The September 11 Syndrome -- |t Torture -- |t The Iraq War -- |t History -- |t Notes -- |t Filmography -- |t Bibliography -- |t Index |
506 | 0 | |a restricted access |u http://purl.org/coar/access_right/c_16ec |f online access with authorization |2 star | |
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 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. | ||
530 | |a Issued also in print. | ||
538 | |a Mode of access: Internet via World Wide Web. | ||
546 | |a In English. | ||
588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022) | |
650 | 0 | |a Motion pictures |z United States |x History |y 21st century. | |
650 | 0 | |a National characteristics, American, in motion pictures. | |
650 | 0 | |a September 11 Terrorist Attacks, 2001 |x Influence. | |
650 | 0 | |a September 11 Terrorist Attacks, 2001, in motion pictures. | |
650 | 0 | |a September 11 Terrorist Attacks, 2001. | |
650 | 7 | |a PERFORMING ARTS / Film & Video / History & Criticism. |2 bisacsh | |
773 | 0 | 8 | |i Title is part of eBook package: |d De Gruyter |t Columbia University Press Complete eBook-Package 2014-2015 |z 9783110665864 |
776 | 0 | |c print |z 9780231172035 | |
856 | 4 | 0 | |u https://doi.org/10.7312/west17202 |
856 | 4 | 0 | |u https://www.degruyter.com/isbn/9780231850728 |
856 | 4 | 2 | |3 Cover |u https://www.degruyter.com/document/cover/isbn/9780231850728/original |
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