Parallel Lines : Post-9/11 American Cinema

Guy Westwell

ISBN 10: 0231172036 / ISBN 13: 9780231172035

Edité par Columbia University Press, Wallflower Press Nov 2014, 2014

A propos de cet article

Neuware - Parallel Lines describes how post-9/11 cinema, from Spike Lees 25th Hour (2002) to Kathryn Bigelows 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 Obamas troubled second term of office.

N° de réf. du vendeur 9780231172035

Détails bibliographiques

• Titre: Parallel Lines : Post-9/11 American Cinema
• Éditeur: Columbia University Press, Wallflower Press Nov 2014
• Date de parution: 2014
• Langue: anglais
• ISBN à 10 chiffres: 0231172036
• ISBN à 13 chiffres: 9780231172035
• Reliure: Taschenbuch
• État de l'article: Neu
• Dimensions: 230 L x 157 H x 16 P (en millimètres) 230 millimètres de largeur par 157 millimètres de hauteur par 16 millimètres de profondeur
• Poids: 380 grammes

A propos de ce titre

Synopsis

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.

À propos de l?auteur

Guy Westwell is Senior Lecturer in Film Studies at Queen Mary, University of London. He is the author of War Cinema: Hollywood on the Front Line (2006) and co-author of The Oxford Dictionary of Film Studies (2012).