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Attaques terroristes du 11 septembre, 2001, dans l'art --- Attaques terroristes du 11 septembre, 2001, dans les média de masse --- September 11 terrorist attacks, 2001, in art --- September 11 terrorist attacks, 2001, in mass media --- Terroristische aanslagen, 11 september 2001, in de kunst --- Terroristische aanslagen, 11 september 2001, in de massamedia --- September 11 Terrorist Attacks, 2001 --- September 11 Terrorist Attacks, 2001, in art. --- September 11 Terrorist Attacks, 2001, in mass media. --- Influence. --- Social aspects. --- September 11 terrorist attacks, 2001 --- Influence --- Social aspects
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Attaques terroristes du 11 septembre, 2001, dans la littérature --- Attaques terroristes du 11 septembre, 2001, dans le cinéma --- Attaques terroristes du 11 septembre, 2001, dans les média de masse --- September 11 terrorist attacks, 2001, in literature --- September 11 terrorist attacks, 2001, in mass media --- September 11 terrorist attacks, 2001, in motion pictures --- Terroristische aanslagen, 11 september 2001, in de film --- Terroristische aanslagen, 11 september 2001, in de literatuur --- Terroristische aanslagen, 11 september 2001, in de massamedia --- September 11 Terrorist Attacks, 2001 --- September 11 Terrorist Attacks, 2001, in mass media. --- Influence. --- September 11 terrorist attacks, 2001 --- Influence
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"The day the towers fell, indelible images of plummeting rubble, fire, and falling bodies were imprinted in the memories of people around the world. Images that were caught in the media loop after the disaster and coverage of the attack, its aftermath, and the wars that followed reflected a pervasive tendency to treat these tragic events as spectacle. Though the collapse of the World Trade Center was "the most photographed disaster in history," it failed to yield a single noteworthy image of carnage. Thomas Stubblefield argues that the absence within these spectacular images is the paradox of 9/11 visual culture, which foregrounds the visual experience as it obscures the event in absence, erasure, and invisibility. From the spectral presence of the Tribute in Light to Art Spiegelman's nearly blank New Yorker cover, and from the elimination of the Twin Towers from television shows and films to the monumental cavities of Michael Arad's 9/11 memorial, the void became the visual shorthand for the incident. By examining configurations of invisibility and erasure across the media of photography, film, monuments, graphic novels, and digital representation, Stubblefield interprets the post-9/11 presence of absence as the reaffirmation of national identity that implicitly laid the groundwork for the impending invasions of Iraq and Afghanistan." -- Publisher's description.
Emptiness (Philosophy). --- September 11 Terrorist Attacks, 2001 --- September 11 Terrorist Attacks, 2001, in art. --- September 11 Terrorist Attacks, 2001, in mass media. --- Influence. --- Emptiness (Philosophy) --- 11 septembre 2001, Attentats du (États-Unis) --- Vide (philosophie) --- Influence --- Dans les médias --- Dans l'art --- Dans les médias. --- Dans l'art. --- 11 septembre 2001, Attentats du (États-Unis) --- Dans les médias.
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How did the events of September 11, 2001 come to be thought of as 9/11? The Shock of the News is an authoritative account of post-9/11 political and social processes, offering an in-depth analysis of the media coverage of this momentous event. Brian Monahan demonstrates how 9/11 has been transformed into a morality tale centered on patriotism, victimization, and heroes.Introducing the idea of “public drama” as a way of making sense of how media processed and packaged the 9/11 attacks for their audiences, Monahan not only illuminates how and why the coverage took shape as it did, but also provides us with new insights into the social, cultural, and political consequences of the attacks and their aftermath. Monahan explains how and why 9/11 became such a potent symbol, exploring how meanings and symbols get created, reinforced, and disseminated in modern society. Ultimately, Monahan offers an important new understanding of this singular event of our time, and his compelling narrative brings the momentous events back into focus.
Terrorism in mass media. --- Terrorism --- September 11 Terrorist Attacks, 2001, in mass media. --- September 11 Terrorist Attacks, 2001 --- Mass media --- Acts of terrorism --- Attacks, Terrorist --- Global terrorism --- International terrorism --- Political terrorism --- Terror attacks --- Terrorist acts --- Terrorist attacks --- World terrorism --- Direct action --- Insurgency --- Political crimes and offenses --- Subversive activities --- Political violence --- Terror --- Press coverage --- Press coverage. --- Terrorism in mass media
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This is a collection of interdisciplinary essays that examines the historical, political, and social significance of 9/11. This collection considers 9/11 as an event situated within the much larger historical context of late late-capitalism, a paradoxical time in which American and capitalist hegemony exist as pervasive and yet under precarious circumstances. Contributors to this collection examine the ways in which 9/11 both changed everything and, at the same time, nothing at all. They likewise examine the implications of 9/11 through a variety of different media and art forms including literature, film, television, and street art.
Culture --- United States --- Terrorism. --- Political violence. --- Aesthetics. --- Cultural and Media Studies. --- American Culture. --- Terrorism and Political Violence. --- Study and teaching. --- September 11 Terrorist Attacks, 2001 --- Economic history. --- Economic aspects. --- Economic conditions --- History, Economic --- Economics --- United States-Study and teaching. --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Acts of terrorism --- Attacks, Terrorist --- Global terrorism --- International terrorism --- Political terrorism --- Terror attacks --- Terrorist acts --- Terrorist attacks --- World terrorism --- Direct action --- Insurgency --- Political crimes and offenses --- Subversive activities --- Political violence --- Terror --- Psychology --- September 11 Terrorist Attacks, 2001, in mass media. --- Influence. --- Social aspects. --- Mass media --- United States—Study and teaching. --- Violence --- Terrorism --- Radio broadcasting Aesthetics --- Aesthetics
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"September 11th, 2001 remains a focal point of American consciousness, a site demanding ongoing excavation, a site at which to mark before and after "everything" changed. In ways both real and intangible the entire sequence of events of that day continues to resonate in an endlessly proliferating aftermath of meanings that continue to evolve. Presenting a collection of analyses by an international body of scholars that examines America's recent history, this book focuses on popular culture as a profound discursive site of anxiety and discussion about 9/11 and demystifies the day's events in order to contextualize them into a historically grounded series of narratives that recognizes the complex relations of a globalized world. Essays in Reframing 9/11 share a collective drive to encourage new and original approaches for understanding the issues both within and beyond the official political rhetoric of the events of the "The Global War on Terror" and issues of national security."--Bloomsbury Publishing.
Terrorism in motion pictures. --- Psychic trauma in motion pictures. --- September 11 Terrorist Attacks, 2001 --- War on Terrorism, 2001-2009 --- Popular culture --- Motion pictures --- Terrorism and mass media --- September 11 Terrorist Attacks, 2001, in mass media. --- War on Terrorism, 2001-2009, in mass media. --- Mass media --- Mass media and terrorism --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Global Struggle Against Violent Extremism, 2001-2009 --- Global War on Terror, 2001-2009 --- GWOT, 2001-2009 (War on Terrorism) --- Terror War, 2001-2009 --- Terrorism War, 2001-2009 --- War against Terrorism, 2001-2009 --- War on Terror, 2001-2009 --- Military history, Modern --- Terrorism --- World politics --- Afghan War, 2001 --- -Iraq War, 2003-2011 --- Operation Enduring Freedom, 2001 --- -Motion pictures --- Influence. --- Political aspects --- History --- Prevention --- Psychic trauma in motion pictures --- September 11 Terrorist Attacks, 2001, in mass media --- Terrorism in motion pictures --- War on Terrorism, 2001-2009, in mass media --- #SBIB:309H1321 --- #SBIB:309H521 --- -Mass media --- Influence --- Films met een amusementsfunctie en/of esthetische functie: algemeen --- Audiovisuele communicatie: inhoudsanalyse: onderzoekingen --- Terrorisme au cinéma --- Traumatisme psychique au cinéma --- Attentats du 11 septembre 2001, Etats-Unis --- Cinéma --- Terrorisme et médias --- Attentats du 11 septembre 2001, Etats-Unis dans les médias --- Guerre contre le terrorisme, 2001-2009, dans les médias --- Aspect politique --- Afghan War, 2001-2021 --- Iraq War, 2003-2011
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Où a vraiment lieu un événement terroriste ? Chacun sait que les victimes tuées ou mutilées sont situées quelque part... Mais l'adresse d'un événement terroriste est avant tout celle de la sphère publique où il réalisera sa vocation de message. Le terrorisme et les médias de l'image sont en effet les coproducteurs de l'un des grands genres discursifs contemporains, au même titre que les émissions de plateau ou la téléréalité. Avant de condamner le terrorisme, la télévision lui accorde une publicité sans laquelle il n'existerait pas. Ce partenariat forcé se traduit par l'émergence d'une nouvelle rhétorique. Il existe un lien direct entre la légèreté des vidéocaméras et la diffusion de ces innovations que sont les attentats-suicides et les décapitations ritualisées. Les performances de la télévision face aux versions contemporaines du terrorisme sont au coeur de ce livre, auquel ont contribué, dans une dizaine de pays, historiens, sociologues, anthropologues, sémioticiens, philosophes, psychanalystes, spécialistes des médias et des publics. Le terrorisme est ici un révélateur qui transforme notre compréhension du journalisme et de l'image.
Journalisme de télévision --- Media --- Médias --- Televisiejournalistiek --- Terrorisme --- Terrorism --- Television broadcasting of news --- Press coverage --- Television broadcasting of news. --- Press coverage. --- Terrorism and mass media --- Live television programs --- September 11 Terrorist Attacks, 2001, in mass media --- Mass media --- Mass media and language --- Terrorisme et médias --- Téléjournaux --- Emissions télévisées en direct --- Attentats du 11 septembre 2001, Etats-Unis dans les médias --- Médias --- Médias et langage --- Political aspects --- Aspect politique --- Télévision --- 11 septembre 2001, Attentats du (États-Unis) --- Médias et politique --- Émissions de nouvelles --- Émissions en direct --- À la télévision --- Terrorism in the press --- Television broadcasting --- Television coverage of news --- Television journalism --- Television news --- Broadcast journalism --- News --- Médias et politique --- 11 septembre 2001, Attentats du (États-Unis) --- Médias et politique. --- Médias et langage. --- À la télévision. --- Terrorism - Press coverage --- Médias et politique. --- Médias et langage.
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This volume offers a critical analysis of a segment of American literary production surrounding the September 11, 2001 attacks on the United States. While focusing on the writing of Jonathan Safran Foer, Art Spiegelman, Don DeLillo, and Thomas Pynchon, the author locates this work within a larger 9/11 cultural archive. The book proceeds by way of a series of thematic leaps in order to unearth the active entanglement of the event with systems of meaning and power that create the conditions for its emergence and understanding. The main problem of such an approach consists in articulating the three-fold relation at the heart of the archive in which issues of traumatic loss, affect, and politics appear as central: between the historical event, its cultural imprint, and the wider social system. In order to grasp these fundamental relations, the author resorts to a layered interpretive framework and engages a number of theoretical protocols, from psychoanalysis and nationalism studies to philosophy of history, world-system theory, and the heterogeneous critical practices of American Studies. Coming from a non-US Americanist perspective, this contribution to the scholarly production about 9/11 concentrates on trauma as a problem in the conceptualization the event, insists on globalization as its crucial context, and argues for a historical materialist approach to the 9/11 archive.
Literature, Modern --- September 11 Terrorist Attacks (2001) in literature. --- Influence (Literary, artistic, etc.) --- Literature, Modern. --- Modern literature --- Arts, Modern --- Artistic impact --- Artistic influence --- Impact (Literary, artistic, etc.) --- Literary impact --- Literary influence --- Literary tradition --- Tradition (Literature) --- Art --- Influence (Psychology) --- Literature --- Intermediality --- Intertextuality --- Originality in literature --- History and criticism. --- September 11 Terrorist Attacks (2001) --- 2000-2099 --- 820 "20" --- 820 "20" Engelse literatuur--21e eeuw. Periode 2000-2099 --- Engelse literatuur--21e eeuw. Periode 2000-2099 --- September 11 Terrorist Attacks, 2001, in mass media. --- September 11 Terrorist Attacks, 2001 --- Mass media --- Influence. --- 11 septembre 2001, Attentats du (États-Unis) --- Littérature américaine --- September 11 Terrorist Attacks, 2001, in literature --- History and criticism --- Influence --- Literature - 21st century - History and criticism --- September 11 Terrorist Attacks, 2001 - Influence
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