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Road Trips, Globalisation, and the War on Terror
Kyle William Bishop

American zombie Gothic films have changed markedly in their tone, style, and structure since September 11, an evolution that expands the Gothic mode to include the mobility of the narratives protagonists, a popularisation of the movies, and an increased engagement with a multi-ethnic international community. To remain timely, relevant, and commercially viable, such alterations must occur, and these shifts in particular can best be explained by the changing cinematic marketplace, the influence of videogames, and the policies and anxieties resulting from the (inter)national trauma of 9/11 and the War on Terror. This essay examines the film version of World War Z as a key text for exploring the current transition from a localised siege narrative to an international kind of road trip movie, a shift largely tied to the popularity of zombie-themed videogames.

Gothic Studies
Writing, painting and photography
John Corner

This chapter analyses the physicality of the referent and the documentary expression in the media. It explores some aspects of the proto-pictorial quality of documentary expression in writing and compares it with that in painting, to which notions of documentary can be applied only with some awkwardness. The chapter also examines how the photographic image works within its distinctive alignments of the pictorial and the physical. It evaluates three written documents, including George Orwell's The Road to Wigan Pier, Sebastian Junger's The Perfect Storm and the The Guardian newspaper's reporting of the September 11 terrorist attacks the following day.

in Theorising Media
Social contexts in L’Inchiesta and Risen
Fernando Gabriel Pagnoni Berns and Emiliano Aguilar

of 9/11 felt like a violation, pointing to the fact that the USA was no longer invulnerable. It was a divine apocalypse brought to our reality. Karen Armstrong argued that 9/11 revealed a reality that had always existed but which was invisible. The atrocities showed how extremely unstable our position is in a world where most people feel underprivileged and defenceless ( 2003 : 107), in brief, living in a world dominated by injustice. The September 11 terrorist attack ‘deeply upset the religious faith of the Americans who believed in an omnipotent, just, and

in The Bible onscreen in the new millennium
Abstract only
David Murphy and Patrick Williams

(his uncle), an act that leads to a cycle of revenge. (In 2002, he made a short a comic fable, set in Ouagadougou, as part of the portmanteau film 11/09/01 – September 11 .) Simple (but not simplistic) moral tales about power and authority, these films are clearly on a par with Yaaba and Tilaï but they have not received much attention from critics and have not been screened widely. Although these works have failed to

in Postcolonial African cinema
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Philip Hammond

, backward people who bear little culpability for the events of September 11?’ In the Guardian, Jonathan Steele suggested that the target had been widened to include the Taliban because coalition leaders had realised that ‘finding Bin Laden might prove impossible’ (11 October) and so that ‘any hit on the dartboard [could] be trumpeted as proof we’ve scored’ (6 October). In the Times, columnist Mick

in Framing post-Cold War conflicts
Chris Morris and comedy’s representational strategies
Brett Mills

edn (London: BBC Worldwide, 2003), 534. 9 Dan Harries, Film Parody (London: British Film Institute, 2000), 4. 10 Justin Lewis, ‘September 11, 2001’, in Glen Creeber (ed.), Fifty Key Television 3049 Experimental British Tele 194 16/5/07 08:02 Page 194 Experimental British television Programmes (London: Edward Arnold, 2004), 174–7. 11 Karen Lury, Interpreting Television (London: Hodder Arnold, 2005), 18. 12 Dai Vaughan, For Documentary: Twelve Essays (Berkeley and Los Angeles: University of California Press, 1999), 120. 13 Jessica Evans and David Hesmondhalgh

in Experimental British television
Renegotiating Chilean identity in Alicia Scherson’s Play (2005)
Sarah Wright

marginal on the inside: nannies and maids in Chilean cultural production (1982–2000)’ , in S. Nagy-Zekmi and F. Leiva (eds), Democracy in Chile: The Legacy of September 11, 1973 ( Brighton, Portland : Sussex Academic Press , 2005 ), pp. 163–77 . Castells , M. Globalización, desarrollo y democracia: Chile en el contexto mundial ( Santiago, Chile : Fondo de cultura económica , 2005

in Hispanic and Lusophone women filmmakers
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Chris Beasley and Heather Brook

meeting was held between key political and entertainment industry figures (including Karl Rove and Jack Valenti) to discuss cultural responses to the 9/11 attacks. The New York Times reported in March 2002 that ‘the Pentagon’s image builders take Hollywood just as seriously as they take the news media, if not more so … In the wake of September 11, the military sees what television analysts call “militainment” as one of the most effective ways to get its message across’ (as cited by Frazier, 2002: 4). Since one of the central themes of US foreign policy since World War

in The cultural politics of contemporary Hollywood film
The documentary ‘boom’
Thomas Austin

Wyatt, High Concept: Movies and Marketing in Hollywood (Austin, University of Texas Press, 1994), pp. 20–2. Nevertheless, some documentaries have been effectively pre-sold on the basis of their stars and/or subject matter. These include various music documentaries and, in the latter category, films based on already mediated news events, including the previously televised bus hijack retold in Bus 174, and Michael Moore’s reworking of September 11th and the Columbine shooting in Fahrenheit 9/11 and Bowling for Columbine. Super Size Me grossed £1 million in the UK

in Watching the world
Orientalism and the erotic in L’Immortelle and C’est Gradiva qui vous appelle
John Phillips

Cambridge Companion to Delacroix , Cambridge , Cambridge University Press . Žižek , Slavoj ( 2002 ), Welcome to the Desert of the Real! Five Essays on September 11 and Related Dates , London , Verso . Zootrope Films ( 2006 ), Les Films du Lendemain and Z Company Publicity Pamphlet . 1

in Alain Robbe-Grillet