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Jack Bauer for President: Terrorism and Politics in 24 looks at the way "24" reflects, distorts and comments upon our modern political landscape. "24" is one of the most gripping, dramatic and addictive shows on television, but how much of it is realistic? And what does the show have to say about modern politics and foreign policy in America's fight against terrorism? The book takes on the show's images of terrorism, government and politics, as well as the ethics and effectiveness of counterterrorism practices. Does it take a terrorist to fight a terrorist? How much do "the people" have a right to know in life-threatening circumstances? How effective do we really want our heroes to be? Addressing these issues and enriching the "24" viewing experience are authors prominent in fields ranging from philosophy, psychology, political science and counterterrorism. Each contributor was so passionate about the show that we did not have to resort to the threat of electrical wires, heart defibrillators, chemical injections or old-fashioned bone breaking to get our information!
The Fox-TV series 24 might have been in production long before its premier just two months after 9/11, but its storyline—and that of many other television programs—has since become inextricably embedded in the nation's popular consciousness. This book marks the first comprehensive survey and analysis of War on Terror themes in post-9/11 American television, critiquing those shows that—either blindly or intentionally—supported the Bush administration's security policies. Stacy Takacs focuses on the role of entertainment programming in building a national consensus favoring a War on Terror, taking a close look at programs that comment both directly and allegorically on the post-9/11 world. In show after show, she chillingly illustrates how popular television helped organize public feelings of loss, fear, empathy, and self-love into narratives supportive of a controversial and unprecedented war. Takacs examines a spectrum of program genres—talk shows, reality programs, sitcoms, police procedurals, male melodramas, war narratives—to uncover the recurrent cultural themes that helped convince Americans to invade Afghanistan and Iraq and compromise their own civil liberties. Spanning the past decade of the ongoing conflict, she reviews not only key touchstones of post-9/11 popular culture such as 24, Rescue Me, and Sleeper Cell, but also less remarked-upon but relevant series like JAG, Off to War, Six Feet Under, and Jericho. She also considers voices of dissent that have emerged through satirical offerings like The Daily Show and science fiction series such as Lost and Battlestar Galactica. Takacs dissects how the War on Terror has been broadcast into our living rooms in programs that routinely offer simplistic answers to important questions—Who exactly are we fighting? Why do they hate us?—and she examines the climate of fear and paranoia they've created. Unlike cultural analyses that view the government's courting of Hollywood as a conspiracy to manipulate the masses, her book considers how economic and industry considerations complicate state-media relations throughout the era. Terrorism TV offers fresh insight into how American television directly and indirectly reinforced the Bush administration's security agenda and argues for the continued importance of the medium as a tool of collective identity formation. It is an essential guide to the televisual landscape of American consciousness in the first decade of the twenty-first century.
This book explores the relationship between fictional television and American world politics in the period from 9/11 through to the presidency of Donald J. Trump. This period comprises a second golden age for fictional TV. The book therefore explores some of the best TV of all time across two decades of heightened political controversy.
Before 9/11, films addressing torture outside of the horror/slasher genre depicted the practice in a variety of forms. In most cases, torture was cast as the act of a desperate and depraved individual, and the viewer was more likely to identify with the victim rather than the torturer. Since the terrorist attacks of September 11, 2001, scenes of brutality and torture in mainstream comedies, dramatic narratives, and action films appear for little other reason than to titillate and delight. In these films, torture is devoid of any redeeming qualities, represented as an exercise in brutal senselessness carried out by authoritarian regimes and institutions. This volume follows the shift in the representation of torture over the past decade, specifically in documentary, action, and political films. It traces and compares the development of this trend in films from the United States, Europe, China, Latin America, South Africa, and the Middle East. Featuring essays by sociologists, psychologists, historians, journalists, and specialists in film and cultural studies, the collection approaches the representation of torture in film and television from multiple angles and disciplines, connecting its aesthetics and practices to the dynamic of state terror and political domination.
A new edition that brings the ways we watch and think about television up to the present We all have opinions about the television shows we watch, but television criticism is about much more than simply evaluating the merits of a particular show and deeming it “good” or “bad.” Rather, criticism uses the close examination of a television program to explore that program’s cultural significance, creative strategies, and its place in a broader social context. How to Watch Television, Second Edition brings together forty original essays—more than half of which are new to this edition—from today’s leading scholars on television culture, who write about the programs they care (and think) the most about. Each essay focuses on a single television show, demonstrating one way to read the program and, through it, our media culture. From fashioning blackness in Empire to representation in Orange is the New Black and from the role of the reboot in Gilmore Girls to the function of changing political atmospheres in Roseanne, these essays model how to practice media criticism in accessible language, providing critical insights through analysis—suggesting a way of looking at TV that students and interested viewers might emulate. The contributors discuss a wide range of television programs past and present, covering many formats and genres, spanning fiction and non-fiction, broadcast, streaming, and cable. Addressing shows from TV’s earliest days to contemporary online transformations of the medium, How to Watch Television, Second Edition is designed to engender classroom discussion among television critics of all backgrounds. To access additional essays from the first edition, visit the "links" tab at nyupress.org/9781479898817/how-to-watch-television-second-edition/.
The Oklahoma City bombing, intentional crashing of airliners on September 11, 2001, and anthrax attacks in the fall of 2001 have made Americans acutely aware of the impacts of terrorism. These events and continued threats of terrorism have raised questions about the impact on the psychological health of the nation and how well the public health infrastructure is able to meet the psychological needs that will likely result. Preparing for the Psychological Consequences of Terrorism highlights some of the critical issues in responding to the psychological needs that result from terrorism and provides possible options for intervention. The committee offers an example for a public health strategy that may serve as a base from which plans to prevent and respond to the psychological consequences of a variety of terrorism events can be formulated. The report includes recommendations for the training and education of service providers, ensuring appropriate guidelines for the protection of service providers, and developing public health surveillance for preevent, event, and postevent factors related to psychological consequences.
NATIONAL BESTSELLER ONE OF THE NEW YORK TIMES 10 BEST BOOKS OF THE YEAR Who are the immensely wealthy right-wing ideologues shaping the fate of America today? From the bestselling author of The Dark Side, an electrifying work of investigative journalism that uncovers the agenda of this powerful group. In her new preface, Jane Mayer discusses the results of the most recent election and Donald Trump's victory, and how, despite much discussion to the contrary, this was a huge victory for the billionaires who have been pouring money in the American political system. Why is America living in an age of profound and widening economic inequality? Why have even modest attempts to address climate change been defeated again and again? Why do hedge-fund billionaires pay a far lower tax rate than middle-class workers? In a riveting and indelible feat of reporting, Jane Mayer illuminates the history of an elite cadre of plutocrats—headed by the Kochs, the Scaifes, the Olins, and the Bradleys—who have bankrolled a systematic plan to fundamentally alter the American political system. Mayer traces a byzantine trail of billions of dollars spent by the network, revealing a staggering conglomeration of think tanks, academic institutions, media groups, courthouses, and government allies that have fallen under their sphere of influence. Drawing from hundreds of exclusive interviews, as well as extensive scrutiny of public records, private papers, and court proceedings, Mayer provides vivid portraits of the secretive figures behind the new American oligarchy and a searing look at the carefully concealed agendas steering the nation. Dark Money is an essential book for anyone who cares about the future of American democracy. National Book Critics Circle Award Finalist LA Times Book Prize Finalist PEN/Jean Stein Book Award Finalist Shortlisted for the Lukas Prize
This is a print on demand edition of a hard to find publication. Examines terrorists¿ involvement in a variety of crimes ranging from motor vehicle violations, immigration fraud, and mfg. illegal firearms to counterfeiting, armed bank robbery, and smuggling weapons of mass destruction. There are 3 parts: (1) Compares the criminality of internat. jihad groups with domestic right-wing groups. (2) Six case studies of crimes includes trial transcripts, official reports, previous scholarship, and interviews with law enforce. officials and former terrorists are used to explore skills that made crimes possible; or events and lack of skill that the prevented crimes. Includes brief bio. of the terrorists along with descriptions of their org., strategies, and plots. (3) Analysis of the themes in closing arguments of the transcripts in Part 2. Illus.
The "masterfully chilling" novel that inspired the hit AMC series (Entertainment Weekly). The men on board the HMS Terror — part of the 1845 Franklin Expedition, the first steam-powered vessels ever to search for the legendary Northwest Passage — are entering a second summer in the Arctic Circle without a thaw, stranded in a nightmarish landscape of encroaching ice and darkness. Endlessly cold, they struggle to survive with poisonous rations, a dwindling coal supply, and ships buckling in the grip of crushing ice. But their real enemy is even more terrifying. There is something out there in the frigid darkness: an unseen predator stalking their ship, a monstrous terror clawing to get in. “The best and most unusual historical novel I have read in years.” —Katherine A. Powers, Boston Globe
After 9/11, there was an increase in both the incidence of hate crimes and government policies that targeted Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims in the U.S. media. Arabs and Muslims in the Media examines this paradox and investigates the increase of sympathetic images of “the enemy” during the War on Terror. Evelyn Alsultany explains that a new standard in racial and cultural representations emerged out of the multicultural movement of the 1990s that involves balancing a negative representation with a positive one, what she refers to as “simplified complex representations.” This has meant that if the storyline of a TV drama or film represents an Arab or Muslim as a terrorist, then the storyline also includes a “positive” representation of an Arab, Muslim, Arab American, or Muslim American to offset the potential stereotype. Analyzing how TV dramas such as The Practice, 24, Law and Order, NYPD Blue, and Sleeper Cell, news-reporting, and non-profit advertising have represented Arabs, Muslims, Arab Americans, and Muslim Americans during the War on Terror, this book demonstrates how more diverse representations do not in themselves solve the problem of racial stereotyping and how even seemingly positive images can produce meanings that can justify exclusion and inequality.