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001    ocn750174741 
003    OCoLC 
005    20190704064218.8 
006    m     o  d         
007    cr mnu---unuuu 
008    110907s2011    mdua    ob    001 0 eng d 
010      2011008900 
019    847366260|a1061055545|a1081266535 
020    9780810881358|q(electronic bk.) 
020    0810881357|q(electronic bk.) 
035    (OCoLC)750174741|z(OCoLC)847366260|z(OCoLC)1061055545
       |z(OCoLC)1081266535 
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043    n-us--- 
049    CKEA 
050  4 PN1993.5.U6|bM263 2011eb 
082 04 791.43/658|222 
100 1  Markert, John,|d1945-|eauthor. 
245 10 Post-9/11 cinema :|bthrough a lens darkly /|cJohn Markert.
264  1 Lanham :|bScarecrow Press,|c2011. 
300    1 online resource (xli, 349 pages) :|billustrations 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
347    data file|2rda 
504    Includes bibliographical references and index. 
505 0  Introduction -- Cinema simplicity : heroes and villains --
       The cinematic dialectic : movies begin to debate the 
       war(s) -- The dialectic rages on : documentary films 2006-
       2010 -- Fictional features belatedly appear -- Conclusion.
520    "In contemporary society, cinema has become a primary way 
       in which people gain knowledge about events taking place 
       in the world. Films often go beyond news reports by 
       showing in-depth, behind-the-scenes footage, whether in a 
       documentary or recreated in fictional features. More than 
       fleeting scenes of events shown on the nightly news, a 
       film can influence people's feelings about war and what 
       our political leaders should do about it. This has 
       certainly been the case since the attack on 9/11 and the 
       subsequent incursions into Iraq and Afghanistan. In Post-9
       /11 Cinema: Through a Lens Darkly, John Markert takes a 
       close look at the films depicting these events. Covering 
       cinematic portrayals of 9/11 and the attacks that followed,
       this book examines both dramas and documentaries that 
       depict what some have termed 'Bush's war, ' as well as 
       rebuttal films, films about terrorist activities, and 
       films seen from the vantage point of journalists and 
       military personnel. Post-9/11 Cinema not only shows how 
       motion pictures reflect societal values but also how such 
       works can influence social attitudes and thus promote 
       change. In addition, Markert appraises the film industry 
       and critiques how images are manipulated to sway the 
       viewer to appreciate the side being advocated. Examining 
       such dramas as The Messenger, Stop-Loss, The Lucky Ones, 
       In the Valley of Elah, and The Hurt Locker, as well as 
       documentaries including Fahrenheit 9/11, Soldiers of 
       Conscience, and Taxi tothe Dark Side, Post-9/11 Cinema is 
       a valuable read for professors of media and mass 
       communication, popular culture, and film studies, as well 
       as cultural sociologists"--Provided by publisher. 
588 0  Print version record. 
611 27 September 11 Terrorist Attacks (2001)|2fast
       |0(OCoLC)fst01112794 
648  7 2000-2099|2fast 
650  0 Motion pictures|zUnited States|xHistory|y21st century. 
650  0 Motion pictures|xPolitical aspects|zUnited States. 
650  0 War films|zUnited States|xHistory and criticism. 
650  0 September 11 Terrorist Attacks, 2001|xInfluence. 
650  0 Fine Arts. 
650  7 ART|vFilm & Video.|2bisacsh 
650  7 PERFORMING ARTS|vFilm & Video|xReference.|2bisacsh 
650  7 Influence (Literary, artistic, etc.)|2fast
       |0(OCoLC)fst00972484 
650  7 Motion pictures.|2fast|0(OCoLC)fst01027285 
650  7 Motion pictures|xPolitical aspects.|2fast
       |0(OCoLC)fst01027353 
650  7 War films.|2fast|0(OCoLC)fst01170482 
651  7 United States.|2fast|0(OCoLC)fst01204155 
655  7 Criticism, interpretation, etc.|2fast 
655  7 History.|2fast 
776 08 |iPrint version:|aMarkert, John, 1945-|tPost-9/11 cinema.
       |dLanham, Md. : Scarecrow Press, Inc., 2011|z9780810881341
       |w(DLC)  2011008900|w(OCoLC)704243849 
914    ocn750174741 
994    92|bCKE