By Priscilla Walton, Bruce Tucker
The bombing of the dual Towers in big apple on September eleven, 2001, marked a tremendous turning aspect in sleek American tradition. Authors Bruce Tucker and Priscilla L. Walton research severe moments within the aftermath of Sept. 11 arguing that commentators deserted complexity, trying to lessen occasions to their least difficult signification.
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Extra info for American Culture Transformed: Dialing 9/11
The representation of Appalachia in literature, ﬁlm, and television is ﬁlled with images of Appalachians as noble savages, innocent children, or violent feuders. They are pictured either as good children or bad children but never (with the exception of writers and artists native to the region) as “part of the adult population of the country or the culture” (296–7). Lynch, young, pretty, Appalachian, and white, needs the power of the white, male, military establishment to see her through the pain of this innocently chosen drama of her late adolescent life.
However, and again like Virilio, he also makes some very signiﬁcant and interesting observations. For example, he notes: The worst thing for a global power is not to be attacked or destroyed, but to be humiliated. And it was humiliated by September 11 because the terrorists inﬂicted something on it then that it cannot return. All the reprisals have merely been a system of physical retaliation, whereas that global power was defeated symbolically. War is a response to the aggression, but not to the challenge.
Nor is Dr Uday’s observation without basis in Correspondent’s discussion of American military strategies: Spinning and Counter-Spinning Jessica Lynch and Lynndie England 31 The American strategy was to ensure the right television footage by using embedded reporters and images from their own cameras, editing the ﬁlm themselves. The Pentagon had been inﬂuenced by Hollywood producers of reality TV and action movies, notably the man behind Black Hawk Down (and the highly-acclaimed television series CSI), Jerry Bruckheimer.