The Impact of 9-11 on the Media, Arts, and Entertainment is the fourth volume of the six-volume series The Day that Changed Everything? This volume's contributors include P.J. Crowley, Mel Dubnick, Nancy Snow, Michèle Cloonan, and other leading scholars.

This interdisciplinary study examines how state surveillance has preoccupied British and American television series in the twenty years since 9/11. Surveillance and Terror in Post-9/11 British and American Television illuminates how the U.S. and U.K., bound by an historical, cultural, and television partnership, have broadcast numerous programs centred on three state surveillance apparatuses tasked with protecting us from terrorism and criminal activity: the prison, the police, and the national intelligence agency. Drawing from a range of case studies, such as Sherlock, Orange is the New Black and The Night Manager, this book discusses how television allows viewers, writers, and producers to articulate fears about an increased erosion of privacy and civil liberties following 9/11, while simultaneously expressing a desire for a preventative mechanism that can stop such events occurring in the future. However, these concerns and desires are not new; encompassing surveillance narratives both past and present, this book demonstrates how television today builds on earlier narratives about panoptic power to construct our present understanding of government surveillance.

The terrorist attacks of September 11, 2001 created a new political landscape and a new era of warfare. Language, Symbols, and the Media, now in paperback, offers insights into the impact and influence of 9/11 upon our cultural, social, and political life. The book opens with an introductory chapter on communications, media language, and visual symbolism in the immediate wake of the attacks. The second chapter considers the challenge to religious pluralism, analyzing the grounds for the immediate backlash against Islam. Chapter 3 reviews several crucial historical and contemporary Supreme Court rulings relevant to the limitations of free speech in times of war and national crises. The consideration of First Amendment rights is continued in chapter 4, which places the Patriot Act in historical context by comparing the legislation and its interpretation of it to other legislation passed in response to past American crises. The immediate aftermath of the attacks witnessed many calls for an end to "the age of irony" and a return to "traditional values." Chapter 5 considers some contrarian responses and analyzes the impact of irony as a rhetorical device in American culture. The unifying role of sport in the post-9/11 healing process in America is examined in chapter 6. Chapter 7 examines the reactions and responses of young adults to the events of 9/11 one year later. Chapter 8 demonstrates how politicians received a public "makeover" of their careers. Chapter 9 explores the impact of 9/11 on the rhetoric of advertising, while chapter 10 focuses more closely on how it affected the tourism industry. A concluding chapter examines several instances of media self-censorship and its implications for the policymaking process during times of crisis. This volume will be of interest to cultural studies specialists, sociologists, journalists, political scientists, historians, as well as general readers.

Focusing on the decade following 9/11, this critical analysis examines the various portrayals of Muslims in American cinema. Comparison of pre- and post-9/11 films indicates a stereotype shift, influenced by factors other than just politics. The evolving definitions of male, female and child characters and of setting and landscape are described. The rise of the formidable American female character who dominates the weak Muslim male emerges as a common theme.

In an era of heightened securitization, print, televisual and networked media have become obsessed with the 'pre-mediation' of future events. In response to the shock of 9/11, socially networked US and global media worked to pre-mediate collective affects of anticipation and connectivity, while also perpetuating low levels of apprehension or fear.

In the years following 9/11, American TV developed a preoccupation with apocalypse. Science fiction and fantasy shows ranging from Firefly to Heroes, from the rebooted Battlestar Galactica to Lost, envisaged scenarios in which world-changing disasters were either threatened or actually took place. During the same period numerous commentators observed that the American media's representation of gender had undergone a marked regression, possibly, it was suggested, as a consequence of the 9/11 attacks and the feelings of weakness and insecurity they engendered in the nation's men. Eve Bennett investigates whether the same impulse to return to traditional images of masculinity and femininity can be found in the contemporary cycle of apocalyptic series, programmes which, like 9/11 itself, present plenty of opportunity for narratives of damsels-in-distress and heroic male rescuers. However, as this book shows, whether such narratives play out in the expected manner is another matter.

This book offers an exploration of the comprehensive impact of the events of September 11, 2001, on every aspect of American culture and society. On Thanksgiving day after September 11, 2001, comic strip creators directed readers to donate money in their artwork, generating $50,000 in relief funds. The world's largest radio network, Clear Channel, sent a memo to all of its affiliated stations recommending 150 songs that should be eliminated from airplay because of assumptions that their lyrics would be perceived as offensive in light of the events of 9/11. On the first anniversary of September 11th, choirs around the world performed Mozart's Requiem at 8:46 am in each time zone, the time of the first attack on the World Trade Center. These examples are just three of the ways the world—but especially the United States—responded to the events of September 11, 2001. Each chapter in this book contains a chronological overview of the sea of changes in everyday life, literature, entertainment, news and media, and visual culture after September 11. Shorter essays focus on specific books, TV shows, songs, and films.

This book explores the impact of September 11, 2001 upon interdisciplinary scholarship and pedagogy in the liberal arts. Since “the day that changed everything”, many forces have transformed institutions of higher education in the United States and around the world. The editors and contributors consider the extent to which the influence of 9/11 was direct, or part of wider structural changes within academia, and the chapters represent a wide range of interdisciplinary perspectives on how the production and dissemination of knowledge has changed since 2001. Some authors demonstrate that new forms of inquiry, exploration, and evidence have been created, much of it focused on the causes, consequences, and meanings of the terror attacks. Others find that scholars sought to understand 9/11 by applying old theoretical and empirical insights and reviving lines of questioning that have become relevant. The contributors also examine the impact of 9/11 on higher education administration and liberal arts pedagogies. Among the many collective findings is that scholars in the humanities and critical social sciences have been most attentive to the place of 9/11 in society and academic culture. This eclectic collection will appeal to students and scholars interested in the place of the liberal arts in the twenty-first century world.

This book is a comprehensive introduction to the past and present of American Muslim communities. Chapters discuss demographics, political participation, media, cultural and literary production, conversion, religious practice, education, mosque building, interfaith dialogue, and marriage and family, as well as American Muslim thought and Sufi communities. No comparable volume exists to date.

This volume examines the ways in which the media, including film, television, social media, and gaming, has constructed and sustained a narrative of white supremacy that has entered mainstream American discourse. With chapters by today’s preeminent critical race scholars, the book looks in particular at the ways media institutions have circulated white supremacist ideology across a wide range of platforms and texts that have had significant impact on shaping our current polarized and racialized social and political landscape. Systematically scrutinizing every media platform, this volume provides readers with an understanding of the ways in which media has provided institutional support for white supremacist ideology, and presents them with the means to examine and analyze the persistence of these narratives within our racial discourse, thus offering the necessary knowledge to challenge and transform these racially divisive and destructive narratives. White Supremacy and the American Media will be of interest not only to scholars working in critical race studies and popular culture in the United States, but also to those working in the fields of Film and Television Studies, Sociology, Geography, Art History, Communication and Media Studies, Cultural Studies, American Studies, Popular Culture, and Media Studies.