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Introduction

Published online by Cambridge University Press:  05 August 2016

Terence McSweeney
Affiliation:
Lecturer in Film and Television Studies, Southampton Solent University, Southampton Solent University
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Summary

The films of a nation reflect its mentality in a more direct way than other artistic media … What films reflect are not so much explicit credos as psychological dispositions – those deep layers of collective mentality which extend more or less below the dimension of consciousness.

Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film

While the precise definition of post-traumatic stress disorder [PTSD] is contested, most descriptions generally agree that there is a response, sometimes delayed, to an overwhelming event or events, which takes the form of repeated, intrusive hallucinations, dreams, thoughts, or behaviours stemming from the event, along with numbing that may have begun during or after the experience, and possibly also increased arousal to (and avoidance of) stimuli recalling the events.

Cathy Caruth, Trauma: Explorations in Memory

Every history really is two histories. There is the history of what actually happened, and there is the history of the perception of what happened. The first kind of history focuses on the facts and figures; the second concentrates on the images and words that define the framework within which those facts and figures make sense.

W. L. T. Mitchell, Cloning Terror. The War of Images, 9/11 to the Present

Just forty-eight hours after two hijacked jet airliners struck the World Trade Center (WTC) on 11 September 2001, the trailer for Sam Raimi's upcoming Spider-Man (2002) was hurriedly withdrawn from cinemas all across America. The short teaser, shot exclusively for marketing purposes and not consisting of scenes meant for inclusion in the final film, had shown the perpetrators of a smoothly orchestrated bank robbery fleeing in a helicopter through the skies of New York. Their celebrations, however, are abruptly brought to a halt, as somehow they become suspended precariously in mid-air, high above the city streets below. As the camera slowly pulls back, it reveals that they are actually caught in a giant spider's web, trapped between the imposing Twin Towers still dominating the Manhattan skyline. Not only was the trailer removed, but all of the film's posters in which the World Trade Center could be seen reflected in Spider-Man's eyes were also recalled.

Type
Chapter
Information
The 'War on Terror' and American Film
9/11 Frames Per Second
, pp. 1 - 31
Publisher: Edinburgh University Press
Print publication year: 2014

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  • Introduction
  • Terence McSweeney, Lecturer in Film and Television Studies, Southampton Solent University, Southampton Solent University
  • Book: The 'War on Terror' and American Film
  • Online publication: 05 August 2016
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  • Introduction
  • Terence McSweeney, Lecturer in Film and Television Studies, Southampton Solent University, Southampton Solent University
  • Book: The 'War on Terror' and American Film
  • Online publication: 05 August 2016
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Introduction
  • Terence McSweeney, Lecturer in Film and Television Studies, Southampton Solent University, Southampton Solent University
  • Book: The 'War on Terror' and American Film
  • Online publication: 05 August 2016
Available formats
×