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| 1 |
ID:
144862
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| Summary/Abstract |
In the wake of the 9/11 attacks the American film industry took a while to react to the Islamist threat at home and abroad. From 2005, however, Hollywood responded to the threat to the homeland and the War on Terror “over there” in Iraq and Afghanistan in a variety of ways. This article examines the nature of that response and whether it evinces, as critics allege, that the American film industry reflects and shapes a capitalist and imperialist agenda. More particularly, by evaluating the cinematic treatment of both the Iraq war and the problem of surveillance, rendition, and homeland security, the analysis explores what this distinctive on-screen genre tells about how the U.S. cultural mainstream has dealt with the challenge global jihadism poses to American values. The analysis suggests that post-9/11 movie making, while sometimes bleak and often clichéd, is cognizant of the gray area morality inherent in fighting the “War on Terror,” and is still thus able to offer some possibilities for sophisticated reflection.
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| 2 |
ID:
116770
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| Publication |
2012.
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| Summary/Abstract |
Americans first saw motion pictures on a screen in 1896 but had begun to tire of cinema's stale offerings by the end of 1897, and American filmmakers were considering abandoning the unprofitable medium. Then the USS Maine exploded in Havana Harbor (15 February 1898), and a small band of entrepreneurs rushed to capitalize on the disaster. Seizing upon the Spanish-American War's inherent drama, they created films with narrative power, which brought audiences back to theaters and enabled the pioneers to survive the embryonic American film industry's near financial collapse. They soon led the motion picture industry west and helped to make Hollywood the cinematic capital of the world.
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