By Andrew Schopp, Matthew B. Hill

"The battle on Terror and American pop culture" is a set of unique essays by way of teachers and researchers from worldwide that examines the advanced interrelation among the Bush administration's 'War on Terror' and American pop culture. Written via specialists within the fields of literature, movie, and cultural stories, this e-book examines intimately how pop culture displays matters and anxieties in regards to the September eleven assaults and the struggle these assaults generated, the way it interrogates the person and collective affects that warfare has wrought, the way it may perhaps problem or critique present coverage, and the way it will probably toughen or propose the struggle and its socio political paradigms.

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10, 2001. html. ———. ’’ Jan. 29, 2002. html. ———. ’’ Nov. 8, 2001. html. ———. ’’ Oct. 4, 2001. html. ———. ’’ Oct. 7, 2001. html. ———. ’’ Sept. 14, 2001. html. ———. ’’ Sept. 16, 2001. html. ———. ’’ Sept. 11, 2001. html. , Precarious Life: The Powers of Mourning and Violence. London: Verso, 2004. DeLillo, Don. Falling Man. New York: Scribner, 2007. ———. Mao II. New York: Penguin, 1991. Didion, Joan. 11. New York: New York Review of Books, 2003. 17132$ INTR 04-08-09 15:39:31 PS PAGE 41 42 ANDREW SCHOPP AND MATTHEW B.

16. 15. Faludi, The Terror Dream, 6. 16. Didion eventually concludes that one major ‘‘fixed idea’’ that predated September 11 was that ‘‘the collapse of the Soviet Union had opened the door to the inevitability of American preeminence, a mantle of beneficent power that all nations except rogue nations . . ’’ Didion, Fixed Ideas, 37. 17. Butler, Precarious Life, 29. 18. , 7. 19. Faludi makes this argument in detail in part 2 of The Terror Dream, ‘‘Phylogeny,’’ 199–286. 20. Faludi explains that the fictional basis for the film The Searchers, the film that was constantly evoked in the days following September 11, completely distorts the historical reality, depicting the females captured by the Native Americans as frail, and vulnerable, and the white men who rescue them as noble heroes, while the historical record reveals the women as generally happy with their lives in the Native American culture and as not desiring to return to their prior world.

42 Unlike the man in the photograph, these people ................. 17132$ $CH1 04-08-09 15:39:46 PS PAGE 53 54 CHRISTINE MULLER seem to exhibit no hint of any agency at all, constrained or otherwise; their uncontrolled freefall evinces them at the full mercy of ineluctable and inexplicable fate. Yet Junod admits that these distinctions are only misleading byproducts of the photographic record. After all, ‘‘In the picture he is frozen; in his life outside the frame, he drops and keeps dropping.

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