By Priscilla Walton, Bruce Tucker
The bombing of the dual Towers in long island on September eleven, 2001, marked a tremendous turning element in glossy American tradition. Authors Bruce Tucker and Priscilla L. Walton study serious moments within the aftermath of 9-11 arguing that commentators deserted complexity, trying to lessen occasions to their easiest signification.
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Additional info for American Culture Transformed: Dialing 9/11
He continues: You can search the Internet until your eyes fall out, and you won’t ﬁnd a single word from the feminists about Jessi Lynch [sic]. What more could they ask for than a woman in combat, who toughs Spinning and Counter-Spinning Jessica Lynch and Lynndie England 39 it out with the best of the boys? Sorry, no time for Jessi. She’s too hick, too patriotic and not their type. Far better to be rallying around the latest incompetent lesbian assistant professor, who is legitimately not getting tenure.
Whatever one’s position on Fahrenheit 9/11 (and this ﬁlm evokes very strong responses), Moore was one of the ﬁrst Americans publicly to raise questions about the War on Terror and its aftermath. The actual attacks were ﬁlmed by two French brothers, Giles and Gideon Naudet, who were making a documentary about ﬁreﬁghters in New York City. In what came to be called 9/11 (released in 2002), the Naudets ﬁlmed their subjects as they rushed to the World Trade Center that September morning. ” What they eventually had was the only ﬁlm footage shot from within the Towers, as well as the only known footage of the ﬁrst plane striking the North Tower.
Yet, at the time, surprisingly few scholars and/or public intellectuals spoke. Those who did – Jean Baudrillard, Paul Virilio, Slavoj Zizek, Jurgen Habermas, and Jacques Derrida – foresaw different movements, some of which were more accurate than others (at least from our vantage point in 2010); and, contrarily, some appeared simply to use the tragedy as a jumping-off point for their own particular issues. To some extent, Virilio falls into the latter camp. In Ground Zero (2002), he sees 9/11 as a culmination of a crisis of technology.