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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
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Die Rede von der »Macht der Bilder« in Zeiten des Terrors hat Konjunktur. Wie ist der hegemoniale Bild-Diskurs der Medien angeordnet? Welche gesellschaftlichen Bruchlinien schreiben sich in die Bilder ein? Zur Freilegung eines Repräsentations-Dispositivs wird der Frage nachgegangen, wie bestimmte Bilder repräsentativ für Ereignisse werden. Ausgehend von diskursanalytischen Methoden werden Verfahren aus den Bildwissenschaften aufgegriffen und anhand eines Bilderkorpus von 1500 Pressebildern zu 9/11, entlang eines Zeitraums von zehn Jahren, angewendet. In der Analyse zeigen sich Beziehungen zwischen den Bildern als narrative Anordnungen, Prozesse von Interikonizität und ihre emotionale Wirkung über die Pathosformel Aby Warburgs. Die zentralen Themen der Studie sind kollektives Bildergedächtnis und kollektives Trauma, Prozesse der Identitätsbildung sowie ideologische Funktionsweisen der Bilder.
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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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Commentators and artists attempting to represent the events of September 11, 2001, struggle to create meaning in the face of such powerful experiences. This collection of essays offers critical insights into the discourses that shape the memory of 9/11 in the narrative genres of comics, literature, film, and theatre. It examines historical, political, cultural, and personal meanings of the disaster and its aftermath through critical discussions of Marvel and New Yorker comics, American and British novels, Hollywood films, and the plays of Anne Nelson.
Comic books, strips, etc. --- September 11 Terrorist Attacks, 2001 --- September 11 Terrorist Attacks, 2001, in literature --- September 11 Terrorist Attacks, 2001, in motion pictures --- September 11 Terrorist Attacks, 2001, in mass media --- Popular culture --- History and criticism --- Political aspects --- History --- 11 septembre 2001, Attentats du (États-Unis) --- Culture de masse --- Au cinéma --- Dans la littérature --- Au théâtre --- Dans les médias --- Aspect politique --- Au cinéma. --- Dans la littérature. --- Au théâtre. --- Dans les médias. --- Comic books, strips, etc. - History and criticism --- September 11 Terrorist Attacks, 2001 - Caricatures and cartoons --- Popular culture - Political aspects - United States - History - 21st century
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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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