How can love be understood globally as a problematic transgression rather than the narrative of "happy endings" that Hollywood has offered? The contributors utilize varying methodologies of textual analysis, psychoanalytic models, and cultural critique and engage with a broad range of films to explore issues of gender identity and spectatorship.

September 11th, 2001 remains a focal point of American consciousness, a site demanding ongoing excavation, a site at which to mark before and after "everything" changed. In ways both real and intangible the entire sequence of events of that day continues to resonate in an endlessly proliferating aftermath of meanings that continue to evolve. Presenting a collection of analyses by an international body of scholars that examines America's recent history, this book focuses on popular culture as a profound discursive site of anxiety and discussion about 9/11 and demystifies the day's events in order to contextualize them into a historically grounded series of narratives that recognizes the complex relations of a globalized world. Essays in Reframing 9/11 share a collective drive to encourage new and original approaches for understanding the issues both within and beyond the official political rhetoric of the events of the "The Global War on Terror" and issues of national security. >

This book reviews the cross-disciplinary debate sparked by renewed interest in Elinor Glyn’s life and legacy by film scholars and literary and feminist historians and offers a range of views of Glyn's cultural and historical significance and areas for future research. Elinor Glyn was a celebrity figure in the 1920s. In the magazines she gave tips on beauty and romance, on keeping your man, and on the contentious issue of divorce. Her racy stories were turned into films – most famously, Three Weeks (1924) and It (1927). Decades on the ‘It Girl’ remains in common currency, defining the sexy, sassy and alluring young woman. She was beloved by readers of romance, and her films were distributed widely in Europe and the Americas. They were viewed by the judiciary as scandalous, but by others—Hollywood and the Spanish Catholic Church—as acceptably conservative. Glyn has become a peripheral figure in histories of this period, marginalized in accounts of the youth-centred ‘flapper era’. This book features scholarship by Stacy Gillis, Annette Kuhn, Nickianne Moody, Caterina Riba and Carme Sanmartí, Lisa Stead, Karen Randell, and Alexis Weedonand includes, translated for the first time, the intertitles for Márton Garas, 1917 film of Three Weeks, Három hét by Orsolya Zsuppán. The chapters in this book were originally published as a special issue of Women: A Cultural Review.

Mediated Terrorism in the 21st Century offers new interpretations of figures emerging from representations of terrorism and counterterrorism: the male hero, female agent, religious leader, victim/perpetrator, and survivor. This collection of essays by a broad array of international scholars reflects the altered image-making processes that have developed from George W. Bush's "war on terror." Building on current literature on media and terrorism, this volume analyzes the most recent technological developments that have impacted the way we experience terrorism: online videos, social media, cartoons, media feeds, and drones. The authors address different time periods, different terrorist groups, and explore the way filmmakers and television producers from the USA, Europe, South Africa, and the Middle East are documenting modern wars in popular culture.

Mediated Terrorism in the 21st Century offers new interpretations of figures emerging from representations of terrorism and counterterrorism: the male hero, female agent, religious leader, victim/perpetrator, and survivor. This collection of essays by a broad array of international scholars reflects the altered image-making processes that have developed from George W. Bush's "war on terror." Building on current literature on media and terrorism, this volume analyzes the most recent technological developments that have impacted the way we experience terrorism: online videos, social media, cartoons, media feeds, and drones. The authors address different time periods, different terrorist groups, and explore the way filmmakers and television producers from the USA, Europe, South Africa, and the Middle East are documenting modern wars in popular culture.

Terry Gilliam has been making movies for more than forty years, and this volume analyzes a selection of his thrilling directorial work, from his early films with Monty Python to The Imaginarium of Doctor Parnussus (2009). The frenetic genius, auteur, and social critic continues to create indelible images on screen--if, that is, he can get funding for his next project. Featuring eleven original essays from an international group of scholars, this collection argues that when Gilliam makes a movie, he goes to war: against Hollywood caution and convention, against American hyper-consumerism and imperial militarism, against narrative vapidity and spoon-fed mediocrity, and against the brutalizing notion and cruel vision of the "American Dream."

How can love be understood globally as a problematic transgression rather than the narrative of "happy endings" that Hollywood has offered? The contributors utilize varying methodologies of textual analysis, psychoanalytic models, and cultural critique and engage with a broad range of films to explore issues of gender identity and spectatorship.

September 11th, 2001 remains a focal point of American consciousness, a site demanding ongoing excavation, a site at which to mark before and after "everything" changed. In ways both real and intangible the entire sequence of events of that day continues to resonate in an endlessly proliferating aftermath of meanings that continue to evolve. Presenting a collection of analyses by an international body of scholars that examines America's recent history, this book focuses on popular culture as a profound discursive site of anxiety and discussion about 9/11 and demystifies the day's events in order to contextualize them into a historically grounded series of narratives that recognizes the complex relations of a globalized world. Essays in Reframing 9/11 share a collective drive to encourage new and original approaches for understanding the issues both within and beyond the official political rhetoric of the events of the "The Global War on Terror" and issues of national security. >

Terry Gilliam has been making movies for more than forty years, and this volume analyzes a selection of his thrilling directorial work, from his early films with Monty Python to The Imaginarium of Doctor Parnussus (2009). The frenetic genius, auteur, and social critic continues to create indelible images on screen--if, that is, he can get funding for his next project. Featuring eleven original essays from an international group of scholars, this collection argues that when Gilliam makes a movie, he goes to war: against Hollywood caution and convention, against American hyper-consumerism and imperial militarism, against narrative vapidity and spoon-fed mediocrity, and against the brutalizing notion and cruel vision of the "American Dream."

The discussion of the war body on screen is best served by drawing upon multiple and diverging view points, differing academic backgrounds and methodological approaches. A multi-disciplinary approach is essential in order to capture and interpret the complexity of the war body on screen and its many manifestations. In this collection, contributors utilize textual analysis, psychoanalysis, post-colonialism, comparative analysis, narrative theory, discourse analysis, representation and identity as their theoretical footprints. Analysis of the impact of new media and information technologies on the construction and transmission of war bodies is also been addressed.
"The War Body on Screen" has a highly original structure, with themed sections organized around 'the body of the soldier'; 'the body of the terrorist'; and 'the body of the hostage'.