It was believed that September 11th would make certain kinds of
films obsolete, such as action thrillers crackling with explosions
or high-casualty blockbusters where the hero escapes unscathed.
While the production of these films did ebb, the full impact of the
attacks on Hollywood's creative output is still taking shape. Did
9/11 force filmmakers and screenwriters to find new methods of
storytelling? What kinds of movies have been made in response to
9/11, and are they factual? Is it even possible to practice poetic
license with such a devastating, broadly felt tragedy?
Stephen Prince is the first scholar to trace the effect of 9/11
on the making of American film. From documentaries like "Fahrenheit
9/11" (2004) to zombie flicks, and from fictional narratives such
as "The Kingdom" (2007) to Mike Nichols's "Charlie Wilson's War"
(2007), Prince evaluates the extent to which filmmakers have
exploited, explained, understood, or interpreted the attacks and
the Iraq War that followed, including incidents at Abu Ghraib. He
begins with pre-9/11 depictions of terrorism, such as Alfred
Hitchcock's "Sabotage" (1936), and follows with studio and
independent films that directly respond to 9/11. He considers
documentary portraits and conspiracy films, as well as serial
television shows (most notably Fox's "24") and made-for-TV movies
that re-present the attacks in a broader, more intimate way.
Ultimately Prince finds that in these triumphs and failures an
exciting new era of American filmmaking has taken shape.
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