| Record ID | marc_columbia/Columbia-extract-20221130-017.mrc:1483685:3535 |
| Source | marc_columbia |
| Download Link | /show-records/marc_columbia/Columbia-extract-20221130-017.mrc:1483685:3535?format=raw |
LEADER: 03535cam a2200613 a 4500
001 8010202
005 20221201051959.0
008 090403t20092009nyua bq 001 0 eng
010 $a 2009013483
015 $aGBA951443$2bnb
016 7 $a015265441$2Uk
020 $a9780231148702 (cloth : alk. paper)
020 $a0231148704 (cloth : alk. paper)
020 $a9780231148719 (pbk. : alk. paper)
020 $a0231148712 (pbk. : alk. paper)
020 $a9780231520089 (ebook)
020 $a0231520085 (ebook)
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035 $a(OCoLC)ocn286517761
035 $a(OCoLC)286517761
035 $a(NNC)8010202
035 $a8010202
040 $aDLC$cDLC$dBTCTA$dYDXCP$dUKM$dC#P$dBWX$dCDX$dHEBIS$dOrLoB-B
043 $an-us---
050 00 $aPN1993.5.U6$bP745 2009
082 00 $a791.43/6552$222
100 1 $aPrince, Stephen,$d1955-2020.$0http://id.loc.gov/authorities/names/n90631390
245 10 $aFirestorm :$bAmerican film in the age of terrorism /$cStephen Prince.
260 $aNew York :$bColumbia University Press,$c[2009], ©2009.
300 $ax, 388 pages :$billustrations ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references and index.
504 $aIncludes filmography.
505 00 $g1.$tTheater of Mass Destruction -- $g2.$tShadows Once Removed -- $g3.$tGround Zero in Focus -- $g4.$tBattleground Iraq -- $g5.$tTerrorism on the Small Screen -- $g6.$tNo End in Sight -- $gAppendix 1.$tHistorical Timeline -- $gAppendix 2.$tFilmography.
520 1 $a"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."--BOOK JACKET.
650 0 $aMotion pictures$zUnited States$xHistory$y21st century.
650 0 $aSeptember 11 Terrorist Attacks, 2001$xInfluence.$0http://id.loc.gov/authorities/subjects/sh2004005513
650 0 $aMotion pictures$xPolitical aspects$zUnited States.$0http://id.loc.gov/authorities/subjects/sh2008108037
650 0 $aTerrorism in motion pictures.$0http://id.loc.gov/authorities/subjects/sh2001005250
650 0 $aPsychic trauma in motion pictures.$0http://id.loc.gov/authorities/subjects/sh2004007750
650 0 $aWar films$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2010118192
650 07 $aFilm.$2swd
650 07 $aTerrorismus <Motiv>.$2swd
651 7 $aUSA.$2swd
852 00 $bbar$hPN1993.5.U6$iP745 2009