Terrorist Ebook

Urban Survival Guide

Discover How You Can Easily Have A Survival Plan Staying Right Where You Currently Live That's Better Than Having. A Fully Stocked Rural Retreat That You Can't Get To! Finally Revealed: Urban Survival Secrets For Surviving Terrorist Attacks, Natural Disasters And Pandemics! In The Real World, Most People Don't Have A Fully Stocked Retreat They Can Escape To. Even If You've Planned Ahead And You Do, There's No Guarantee That You'll Leave In Time Or That You'll Be Able To Make It There. Your First Plan Must Be To Survive In Place. Read more here...

Urban Survival Guide Summary

Rating:

4.6 stars out of 11 votes

Contents: Ebook
Author: David Morris
Official Website: urbansurvivalplayingcards.com
Price: $47.00

Access Now

My Urban Survival Guide Review

Highly Recommended

All of the information that the author discovered has been compiled into a downloadable book so that purchasers of Urban Survival Guide can begin putting the methods it teaches to use as soon as possible.

If you want to purchase this book, you are just a click away. Click below and buy Urban Survival Guide for a reduced price without any waste of time.

Disaster Terrorism and Television

Fast-forwarding from the ancients to the age of terrorism, we discover that television plays a crucial role as a site of public memory and memorialisation in the face of large-scale disaster. This is more than ironic, for many argue that television is, if not the cause of terrorism, then certainly a major contributing factor to increases in terrorist activities.ii In 1946 a militant Zionist group orchestrated an elaborate plan to bomb the British military and administrative headquarters in the south wing of the luxurious King David Hotel in Jerusalem. As seen in the television documentary The Age of Terrorism, British newsreel footage of the aftermath of the Jerusalem Bomb is uncannily reminiscent of media reports of the devastation caused by the terrorist attacks on the World Trade Center in New York on September 11, 2001.iii In terrorism studies, the Jerusalem Bomb, as it is known, marks the beginning of terrorism as a media event, actions designed to capture the world's attention....

Summary of the classical reading

The classical reading has highlighted a (macro-) structure that consists of three acts plus opening and coda. The opening ends with McClane arriving at the Nakatomi Plaza, while the terrorists are closing in as well. The first act ends with McClane talking to his wife in the bathroom. He is vulnerable (no shirt, shoes, or socks), but not repentant enough to respond to Holly's double invitation to stay in the spare bedroom (rather than share her bed) and to pick up her admission that she misses him, by saying how sorry he was for not backing her career. The second act ends with McClane wounded, on the rooftop of the building, talking to A1 Powell via the two-way radio about his possible death, eventually asking A1 to tell his wife Holly that he is sorry. The third act ends with Hans Gruber falling to his death and Holly (as well as the We have also established, thanks to the criteria of the well-made (screen)play, as itemized, for instance, by Bordwell, Straiger, and Thompson (1985 see...

FOCUS International Style

Face Off is the story of Sean Archer (John Travolta), an FBI agent embittered by the death of his 5-year-old son at the hands of a terrorist, Castor Pollox (Nicolas Cage). As the film opens, Pollux plants a bomb in Los Angeles but is wounded and lapses into a coma. In an attempt to discover the whereabouts of the bomb, Archer has Castor's face grafted in an effort to trick his brother, Troy, into revealing the whereabouts of the bomb. The trauma of having his face removed wakens Castor. Enraged, he has Archer's face grafted on, before killing everyone that knows what has happened. Now the roles are reversed Pollux can call on the resources of the Police and FBI Archer has to turn to Pollux's motley crew of terrorists. Woo's techniques are demonstrated early in the film in a gunfight that leads to the capture of the Pollux brothers. The sequence begins as the private jet that the terrorists were using to escape crashes into the side of a hangar it ends 4 minutes and 36 seconds later as...

Life Does Influence

As this book's deadline was being met, America endured the tragic attacks that occurred on September 11,2001. Within the days and weeks following the attacks, an arts-and-entertainment task force was summoned by the White House and government intelligence specialists to help them brainstorm about possible future attacks from the enemy. As Allison Hope Wiener and Daniel Fierman wrote in an Entertainment Weekly article, Since 1999, the Institute for Creative Technologies (ICT) at the University of Southern California, has been operating as a brain trust for the U.S. Army, working in conjunction with academics and unpaid volunteers from the entertainment industry, including David Fincher and Spike Jonze as well as special-effects gurus like Ron Cobb. The institute, headed by Richard Lindheim, a former executive at Universal and Paramount, helps create virtual-reality-training experience for soldiers. (The ICT is operated by USC under a five-year, 45 million contract with the Army.) While...

Margarethe von Trotta

In her stories, social or political conflicts are personalized, and the narrative is charged with resolving them, at least metaphorically, by providing the necessary elements of closure. Binary oppositions, symmetrical situations, repetitions and visual parallels are structural features much in evidence. In Christa Klages, the daycare center cannot survive because the landlord wants to open a sex shop Lena, the bank teller, is both a double of Christa's school friend Ingrid and, in another context, symmetrically related to Christa's own young daughter. In Sisters or the Balance of Happiness, the heroine Maria has a double in the severe matron presiding over the typing pool, and Maria and Anna are echoed in the blind old woman, always shouting at her sister. Miriam is interested in Maurice who gets Maria, and Robert is interested in Maria but gets Miriam. In The German Sisters, Marianne the terrorist has presumably thrown bombs that have wounded innocent people her innocent small son...

Vietnam the semiinvisible war

Only Joseph Mankiewicz's The Quiet American (1958) and George Englund's The Ugjy American (1962) hinted at the ambiguities of America's role in a politically complex region. Both sanitised best-selling books, the former by the British spy author Graham Greene, who had been banned from the United States in 1952 for Communist party connections, the latter by the American political novelists William Lederer and Eugene Burdick. Greene's novel centred on Alden Pyle, a CIA agent in Southeast Asia whose anti-communist counter-terrorism kills and maims innocent civilians. In the film, Pyle (played by Second World War hero Audie Murphy) works for a private US aid mission, and the ending reverses Greene's critique of American foreign policy into an anti-communist statement by attributing civilian deaths to the Viet Minh, the independence league led by Ho Chi Minh. This rewrite can partly be linked to pre-production contacts between director Joseph Mankiewicz and one of the CIA's legendary Cold...

Clear and Present Danger

I never really was passionate about the subject matter of Patriot Games. I was passionate about what we turned it into. I was passionate about the character that Harrison and I were able to create. I was passionate about particular sequences in the film. But the story itself, a story of revenge, a story of a man protecting his family from a terrorist, didn't excite me that much. But when it came to Clear and Present Danger, I was really excited. This was a story that was inspired by the Iran controversy during the Reagan administration. It was a story that dealt with very real issues about executive power and its use and abuse within the American political system. It was a film that dealt with America's new position as Sheriff to the world and the responsibilities that came with that. And, it was a film in which I felt that Jack Ryan's character would be really tested. And I really wanted to make it. There was a whole different feeling going into the film.

Fernanda Solorzano Critic Mexico

Rosales' take on the activities of Basque terrorist organisation ETA is daring and unbashful. By leaving out any discernible dialogue, his re-creation of a bloody incident manages to send the audience a message on the absurdity of 'explaining' death. Be Kind, Rewind (Michel Gondry, USA)

Assistant Editor Sight Sound United Red Army Wakamatsu Koji Japan

Wakamatsu Koji's gripping 3-hour docudrama account of Japan's Red Army Faction of the 1970s stands head and shoulders above The Baader Meinhof Complex as an insight into radical terrorist groups. There's no glamour here instead the suffocating claustrophobia of life inside such a group, particularly the gruesome scenes of 'self-criticism', is almost unbearable to watch. It deserves far more international exposure than it's so far had. Still Walking (Kore-eda Hirokazu, Japan)

Postclassical analysis Narrative structure

Similarly, it is possible to chart the rise and fall of Hans Gruber around the same three-part act division his successful surprise entry, the discovery of a 'rogue' occupant in the building, the internal unravelling decimation of the gang, and his fatal fall clutching a Rolex watch. Thus, the story makes sense from the perspective of each of the three principal characters, with the spectacular set pieces dividing the initiative almost evenly between McClane and Gruber - the action with the fire hose or the elevator shaft being all McClane's, while Gruber calls the shots (with McClane a mere spectator) in one of the most chilling scenes, the assassination of Tagaki, Holly's boss. The case for a post-classical reading, therefore, does not depend on the absence presence of the canonical story format per se, but would build on the evidence of a 'layering' of the traditional screenplay, which opens it up to several players or avatars, allowing the film to migrate quite comfortably from...

Jack Bauer Existential Hero

Limb to preserve the safety and lives of others. Two powerful examples of Jack's bravery in season 5 are when he risks exposure to deadly nerve gas in order to save the lives of his compatriots at CTU and when he rushes into a volatile fire at a natural gas company to capture a terrorist. Though viewers certainly admire Jack for his wits, he captures their hearts even more successfully through his astonishing bravery and unwavering commitment to protect the public and defend cherished national ideals (e.g., democracy, the presidency). While critics are correct to note that Jack's bravery and dedication at times push the envelope of plausibility, it is precisely because Jack rises to every imaginable challenge that he epitomizes the ideal of absolute courage under fire. Having demonstrated that Jack Bauer displays various traits of the existential hero, it is necessary to show that he also fulfills the defining task of the man of revolt, namely that he combats absurdity. After all,...

The Mature Auteur La dolce vita and a New Subjective Film Narrative

Satyricon Fellini Banquet Scene

In 1976, Fellini turned to a personal interpretation of the archetypal Latin lover - Giacomo Casanova - and produced a masterpiece that also proved to be a commercial failure, in spite of the Oscar set designer Danilo Donati won for his efforts. Nevertheless, in retrospect, Il Casanova di Fellini (Fellini's Casanova) compares favorably with Stanley Kubrick's Barry Lyndon, appearing almost at the same time. The film's marvelous re-creation of the world of eighteenth-century Venice inside the studios of Cinecitta yielded the most expensive film Fellini had shot to that point in his career. After its commercial failure, Fellini seemed to turn to Italy's present to cast a critical eye upon his fellow countrymen without completely abandoning the nostalgia for Italy's past that has always played such a prominent role in his works. Prova d'orches-tra (Orchestra Rehearsal, 1979), probably the only film Fellini ever made that was at least partly inspired by political events (the murder of Aldo...

The sliding signifers

Again, while the post-classical does not break with this staple of popular fiction in any medium since times immemorial, it vigorously pushes the envelope. It is no accident that John McClane should have as his rival Hans Gruber , when their Christian names are identical in their respective languages. McClane's name is associated with the Scottish word 'clan', i.e. 'family', which is close to the root meaning of his wife's maiden name, 'Genaro'. 'Holly', her first name, inevitably makes (Anglo-Americans) think of Christmas, while 'Tagaki', the name of her boss, apparently means 'tall tree' or paterfamilias in Japanese. Johnson and Johnson, the two FBI agents, certainly do not evoke baby powder, but possibly the name of the largest publisher of black American magazines, while Al Powell turns out to have real 'pal power' for John McClane. He also buys his sweets ('hostess cakes'), while one of the 'terrorists' (in between guarding the hostages) cannot resist the temptation to steal his...

The Contemporary Context

To understand what these filmmakers are doing differently, it's important to state that they are meeting the growing public appetite for action films with all of the technology and editing styles available to them. Some filmmakers move in a realistic direction. For example, John Frankenheimer's extensive use of hand-held camera shots in the Israeli attack on the Beirut terrorist headquarters near the opening of Black Sunday (1977) creates a sense of journalistic veracity. The scene could have been shot for the evening news. James Cameron, on the other hand, was not interested at all in credibility in The Terminator (1984). The first encounter of the Terminator with Sara Connor and Reese, the man sent from the future to save her, is set in The Tech Noir Bar. Many are killed by the Terminator (Arnold Schwarzenegger) in his effort to kill Sara (Linda Hamilton). The cartoonish quality of the sequence continues as the Terminator steals a police car to carry on his chase. This action...

Debord and the Spectacle A Critical Engagement

In using the concept of spectacle, I am obviously indebted to Guy Debord's Society of the Spectacle and the ideas of the Situationist International so acknowledging the debt, I might also say that there are three major differences between my engagement of the concept of the spectacle and Debord's model. First, while Debord develops a rather totalizing and monolithic concept of the society of the spectacle, I engage specific spectacles, like McDonald's and the commodity spectacle, the Clinton sex scandals and impeachment spectacle, or the 9 11 terrorist attacks and Terror War spectacle (Kellner 2003a and 2003b). Most of the examples given above are U.S. based, although with global impact, but the spectacle itself is becoming increasingly global, from the Princess Diana spectacle - probably the most interrogated event in global cultural studies - to 2003 spectacles such as the SARS-related fear of a global epidemic and the global literary and cinematic spectacle of Pottermania. In terms...

Existentialism Crisis and Revolt

In 24 and the Existential Man of Revolt, Jennifer McMahon subjects Jack Bauer, the protagonist of the long-running series 24, to an analysis of the protagonist as existential hero using categories from the writings of Camus. McMahon highlights the theme of absurdity in Bauer's attempts to deal with critical challenges to order and stability, and subsequent fears of loss of meaning, caused by terrorist threats. In terms of the qualities of character found in the existential hero, she argues that Jack Bauer, particularly by virtue of his lucidity and courage, fills the bill as a Camusian man of revolt.

Propaganda by numbers

Batjac's The Green Berets is unashamedly old-fashioned, blood-and-guts patriotic propaganda. A Second World War film in tone and structure, it focuses on the brave endeavours of a small group of elite soldiers, thus playing down the highly bureaucratic nature of America's war in Vietnam. Characters often deliver long speeches, thinly disguised as dialogue. The enemy are presented as racially barbaric terrorists driven by the monolithic communist desire for expansion. The clients, the South Vietnamese, are portrayed as a childlike people who need American guidance. The Americans share democratic and civilised principles, are the underdogs, and fight only to defend. Politics is reduced to personal soul-searching or tragedy. The movie is filled with

Criminal Anxieties Criminal Jokes

Scarface And Pile Cocaine

Creasingly condemned as a trigger for the violence of youthful super-predators and high-school terrorists. On the other hand, violence was more and more successful, and more and more in demand, in selling movies to a generation of teenagers who had grown up with remote controls that had sharpened their impatience, discouraged the deferred gratifications of slow-moving films, and reintroduced Mack Sennett's eighty-year-old principle of slapstick comedy The introduction, buildup, and payoff of each joke had to take less than a minute.

A system of semiotic constraints

A miniature version of the overall design. Die Hard's opening scene, although not detachable, is nonetheless an entire story, in that the meeting of John and Holly at the Christmas party could already be the reunion and reconciliation that both partners are obviously hoping for. But if this was the ending of the story, it obviously would not be worth a movie, and on the other hand, it would not give us the 'cultural' message that for a relation like this to come together again, both partners have to work for it. In this sense the intrusion of the terrorists is, from the point of view of the story of John and Holly McClane, only the external motivation to render inescapable the necessity for them to 'work' on their relationship. The action-adventure movie becomes the place for family-couple therapy.

Alienation and Moral Ambiguity

Classic noir espionage films such as Ministry of Fear (Fritz Lang, 1944) and The Third Man are precursors to TV noir espionage series whose most conspicuous and distinguished example is Secret Agent. The mid-1960s series pits British agent John Drake, an independent-minded antihero who masquerades as artist, writer, travel agent, and milquetoast teacher against spies, terrorists, blackmailers, and assorted denizens of the international criminal underworld. Its black-and-white episodes were stylishly directed (some by Peter Yates, who would go on to direct the noir textured Steve McQueen hit Bullitt 1968 , and others by Don Chaffey, who would also direct episodes of The Prisoner). Sets simulating such locales as Paris, Vienna, Singapore, Beirut, and Hong Kong achieved verisimilitude with admirable economy.

Volume Of Information

In 1985, the screenwriter William Goldman made his famous pronouncement in Hollywood 'Nobody knows anything' (Goldman, 1985 39). Nobody can predict with any reliability what makes a film succeed or fail, therefore each next decision to 'go' is an act of risk and of faith. But perhaps in the light of the last few years his slogan needs modification, to say that ''Everybody knows that nobody knows anything.' The paradox is surely undeniable. More and more is seen and known, yet the glut of information amounts to so little understanding. Stardom is visible as never before - down to each stitch in actresses' dresses, and every inch of skin exposed or not exposed by them. More and more, we seem to be able to see whatever we want, in the Oscars, and the annual hoopla of the Academy Awards Ceremony (and increasingly, it feels, in months of preparation from Cannes, the BAFTA Awards, and the Directors' Guild Awards) in celebrity gala events of various kinds (after the terrorist attacks of...

The Lost Honor of Katharina Blum

In The Lost Honor of Katharina Blum, the main character, Katharina Blum (Angela Winkler), is a decent working-class woman of high moral character and a rather shy woman, as well. She is seen 264 fraternizing with a known terrorist and is considered an accomplice in helping him elude police. The police collude with a tabloid journalist to destroy her reputation. As they proceed to systematically destroy her, Katharina (the most decent person they know, say her employers) is forced to act to defend her dignity. In the end, she kills the journalist whose reports have misrepresented her and who has thrived on her public destruction. The terrorist she protected and loved succeeds in eluding the authorities. The sequence we will focus on is the opening, when the terrorist Ludwig G tten (J rgen Prochnow) is eluding the police who are in close pursuit. He meets Katharina (the nun, according to police reports) at her cousin's party, where they are all under surveillance. Katharina returns to...

Text Interpretation

268 Margarethe Von Trotta is above all a political filmmaker. I use the term political in the sense that her stories are about personal transformation and political action, not in the formal sense, but the actions of an individual to change her interaction with the society. Von Trotta has made films that are more literally political, a film such as Rosa Luxemburg, for example, about the Spartacist leader killed by the German army during the 1918 workers' revolt against the government of post-World War I Germany. Each of the four films I talk about in this chapter focuses on personal and political action. In The Lost Honor of Katharina Blum, Katharina, a shy, modest woman with firm middle-class values, becomes a murderer to defend herself against an exploitative journalist and the police and legal officials whose authoritarianism is all about their empowerment to the detriment of the rights of an individual such as Katharina Blum. Von Trotta sidesteps the love story, the melodrama of a...

General Goals Of The Sound Edit

William Friedkin's Sorcerer (1977), a remake of the French classic, The Wages of Fear (1952), used a similar strategy to establish credibility. Although the story is fiction, Friedkin revealed the history of each of the four lead characters in the prologue. He made those histories as realistic as possible. One of the characters, a Palestinian, is shown on a terrorist bombing mission in Jerusalem. The attack is presented exclusively in cinema verite fashion. The sounds of daytime activity in Jerusalem, the explosion, and its aftermath are presented in a loud, unadulterated fashion. Friedkin seems to have designed the sound to be as raw as the visuals. This sequence is powerful until the artifice of the musical track by Tangerine Dream reminds us that we are watching a film. The music works against the narrative tone of the scene, but the use of music is not the sound editor's decision. The editor's goal is to find and deploy sounds that in tone and intent support the narrative goal of...

Dialogue And Character

Black Sunday (1977), directed by John Frankenheimer, is the story of a terrorist plot to explode a bomb over the Super Bowl. The plot is uncovered by an Israeli raid in Beirut, and the story that unfolds contrasts the terrorists' attempts to carry out the attack and the FBI's efforts to prevent it. For the authorities, this means finding out how the attack will be conducted and who will carry it out. Dalia (Marthe Keller) and Michael (Bruce Dern) are the primary terrorists. She is a Palestinian, and he is an American, a pilot of the Goodyear blimp used at the Super Bowl. Michael is very unstable, a characteristic illustrated through a dialogue sequence. The sequence, which is highly fragmented with lots of movement, seems realistic with its heightened sense of danger. The movement supports the goal of establishing Michael's instability, which is a prime quality in his role as terrorist. The goal of the sequence comes across clearly, as does a sense of urgency and realism.

The foreign policy of victimhood

Humiliation before the eyes of the 'son' is also at issue in the scene where the Libyan terrorists gun down Doc Brown, while Marty helplessly looks on - in fact, as we saw, while two Martys helplessly look on. Given the nationality of the assailants, it is not difficult to think of the scene as a metaphor for any number of the then still recent political humiliations of the US Kennedy at the Bay of Pigs, Lyndon B. Johnson in Vietnam, Richard Nixon's impeachment, Jimmy Carter's Iran hostage crisis, Ronald Reagan's unsuccessful showdown with Colonel Qaddafi - all, in a sense, presidents appearing as impaired or humiliated fathers. Critics such as Pfeil speaking of the film's sympathy with 'Reaganite revisionism' might consider what Back to the Future's rewriting of America's postwar Cold War history thinks it ought to accomplish to mitigate the memory of national disgrace several times over. Doc Brown double-crossing the Libyans who stole the plutonium (here an energy source used as...

Ric Burns

Ric Burns won two Emmys for The Civil War, which he produced with his brother, Ken. Through his own company, Steeplechase Films, he has created an extensive body of award-winning work, primarily for American public television. His films include Eugene O'Neill, Ansel Adams, Coney Island, The Donner Party, the six-hour series The Way West, and the seven-episode series New York, completed before the September 11,2001, terrorist attacks. He followed up with an eighth episode, The Center of the World, about the World Trade Center, which he was completing at the time of this interview in 2003.

Kate clinton

Kate Clinton recently released her new CD, The Marrying Kind. It is a wild, free-associating, dot-connecting romp through presidential selections, stem and terrorist cells, the Fox of War, Patriot action, Homeland Insecurity, the Axis of Medievals, Mad Vow Disease, and Bush-Free Daze.

Live History

The terrorist attack on the twin towers of the World Trade Center, New York, September 11, 2001 was a catastrophic event that even now commentators compete to make sense of. But whether critics see the attack as the end of postmodernism, payback for American dominance, God's judgement of American secularism or the beginning of a New World Order, they all agree that September 11 is a singular media event. In 'Notes on the Logic of the Global Spectacle' Jonathan Flatley argues that what makes September 11 unique is not the scope or nature of its destruction but the fact of its global viewing.xi He claims that ' i t is possible that no other historical event has ever received such a wide public viewing during the event itself' (1). Along with others, Flatley makes the obvious but nevertheless important point that the September 11 attacks were planned in terms of their potential visual effect, or, to use his words, 'their reproducibility as images' (1). In Australia, late-night scheduling...

Pros and Cons

Along about Thanksgiving I'm starting to go crazy because business drops off so significantly, but after fifteen years I realize that's going to happen. I try to prepare myself for it but each year these knots begin to form in my stomach. The worst was after 9 11. For a small company in West Virginia you'd wonder how the terrorists could affect us, but we lost about half of the business we had on the books. We'd come together as a staff on Monday mornings and I'd look around the table and see ten other people sitting there, knowing about each of their families very closely, and I would worry about how to keep all those paychecks going. We ended up weathering that storm pretty well.

Force Majeure

The term 'Force Majeure' shall refer to any production exigency, including but not limited to prevention or interruption of the production of the film because of an accident fire explosion casualty epidemic act of God earthquake flood torrential rain strike walkout picketing labour controversy and other disputes civil disturbances terrorist acts embargo riot act of a public enemy war or armed conflict unavailability of any essential materials and supplies equipment, transportation power or other commodity failure or delay of any transportation agency laboratory or any furnisher of essential supplies equipment or other facilities enactment of any law any judicial or executive order or decree the action of any legally constituted authority under death, incapacity or unavailability or default of the director or any principal cast member or other event or cause of the nature of force majeure beyond the control of the

Martin F Norden

-Robbie Coltrane, shortly after the 9 11 terrorist attacks1 History is littered with examples, but ones from the first years of the twenty-first century should suffice. Within two days of the September 11 terrorist attacks, the Baltimore Sun spoke for many when it defined Osama bin Laden as the face of evil. In the months following the attacks, U.S. President George W. Bush stirred considerable controversy by labelling Iraq, Iran, and North Korea the axis of evil. In his first public statement on the sexual molestation cases that rocked the Roman Catholic Church in the U.S., the late John Paul II observed that some priests had succumbed to the most grievous forms of the mysterium iniquitatis mystery of evil at work in the world. In a 2004 essay on Iraqi terrorists' video-recorded beheadings of western hostages, Harvard scholar Michael Ignatieff posed a poignant question Why can't we just call such acts by their proper names and conduct ourselves accordingly The name for this is evil....

Amplification

In the action genre, John McTiernan used sound to support the physical realism of Die Hard (1988). This police story, set in a modern high-rise in Los Angeles, pits a New York policeman (Bruce Willis) against a group of international terrorists. The action scenes are presented dynamically, and the sound always supports the physical character of the action. When a terrorist blasts a window with automatic-weapon fire, the sounds we hear are the gunshots and the shattering glass. We rarely (if ever) hear the breathing of the characters. The sound throughout the film confirms the most obvious physical action that takes place. The emphasis is on physical reality, and the goal of the sound is to amplify that reality.

America Remembers

In the months leading up to the first anniversary of September 11, the American state collaborated with community groups, families of victims and media networks to stage a mass mediated commemoration service of the victims of the disaster. The result was a global television event, titled 'America Remembers'. Three of Australia's commercial networks provided live, ad-free coverage, as did one of Australia's two state services. The remaining Australian commercial and state channels scheduled special programmes, such as news updates and or documentaries on terrorist related subjects. In Australia, live coverage of 'America Remembers' did not rate as well as expected. The commemoration service itself was less popular than the melodramatic-style documentaries on the attack, such as 9 11, which pre-publicity promised would show 'images never seen before'. Even in America, where ratings were strong, critical responses were mixed.xviii It is my guess that in Australia the event of 'American...

Nothing to Mourn

In its coverage of the September 11 terrorist attack, television was much more than an information service. By inadvertently making us aware of the absences, silences and omissions of the event, television 'replays' the ultimate horror of terrorism namely, the threat of total oblivion, of nothing to mourn. As the site of a global experience of absence, an anxiety about not seeing, Ground Zero marks what Jacques Derrida (in another context) calls 'the loss of the archive', taking the threat associated with terrorism to another level.xv In his discussion of the nuclear imagination, Derrida argues that the fundamental threat is that there will be no social remainder left to remember, nothing or no one to mourn. This is the level of anxiety reached at the peak of the media event of September 11. These attacks mark a profound shift in the West's imagination of terrorism. Firstly, for the obvious reason of the massive level of destruction created by this multiple _ target attack, about...

Marianne and Juliane

Marianne and Juliane is the story of two German sisters. The film begins with the son of Marianne (Barbara Sukowa) being delivered to her sister Juliane (Jutta Lampe) for safekeeping. The film ends with Juliane trying to take care of Marianne's son. By now his father, Wolfgang, has committed suicide, as has his terrorist mother. And the child has been immolated, a cruel prank, because he is his mother's son. Between the narrative bookends provided by the son, we focus on the story of the two sisters. A historical thread traces their history from young children to adolescents. The family history focuses on the father, the compliance of Marianne, and the rebelliousness of Juliane. The contemporary story is a total reversal, with Marianne now a bank robber terrorist and Juliane a committed leftist journalist. Juliane has a ten-year relationship with an architect but no marriage and no children. Marianne enters and exits Juliane's life with some frequency and chides her sister for not...

Douglas Kellner

Political and social life is also shaped more and more by media spectacle. Social and political conflicts are increasingly played out on the screens of media culture, which display spectacles such as sensational murder cases, terrorist bombings, celebrity and political sex scandals, and the explosive violence of everyday life. Media culture not only takes up expanding moments of contemporary experience, but also provides ever more material for fantasy, dreaming, modeling thought and behavior, and constructing identities.

Listening In Life

If you ask most people what they listen to, they will name some sort of music or a radio station. They will not normally respond with something like, Oh, I listen to the rain or I love to listen to the sound of the children's playground across the street or I listen to all the noise inside my head. In fact, we listen to all kinds of things all day long, and all of them affect our actions and decisions. Our hearing, like all our senses, works diligently to warn, protect, comfort, and inform us of the world around us. There are thousands of mundane sounds that we hear in our daily lives, and the situations that surround them constitutes what these sounds mean to us. On Tuesday, September 11, 2001, the day of the terrorist attack on the of World Trade Center, I was at home in my Manhattan apartment working on this very chapter. I had the radio on, and although I was not listening to it, I heard the announcement that Tower One of the World Trade Center had 5 been hit by an airplane. I...

And Noir

One of the most notable features of noir is its focus on crime. As Jason Holt remarks in his essay A Darker Shade Realism in Neo-Noir, the term noir refers essentially (among other things) to a type of crime film. 1 As Holt rightly notes, works rendered in the noir style place a central focus on crime. In particular, they emphasize violent crime and moral corruption. Moreover, these works also tend to focus on individuals who are either enmeshed in, or involved in the detection of, crime. 24 clearly exhibits this sort of focus. Centered on the agents and activities of the Counter Terrorism Unit (CTU), it concerns itself principally with threats to national security. Since first airing in 2001, 24 has placed an unwavering emphasis on violent crime. The criminal plots on which it has focused have ranged from plans for political assassination to biological warfare. CTU agents have sought enemies varying from religious zealots from foreign lands to corrupt members of our own government....

The enigma

Narratives, according to Tzvetan Todorov, can be characterizsed, at their most basic, as structures which begin with a steady state, an equilibrium, a balance. This balance is disrupted by an intervention, an irruption (in Die Hard, the breakup of John and Holly McClane's marriage, the sudden burst of the terrorists' entry into the office Christmas party) which it is the task of the narrative to neutralize and to eliminate, so that finally an equilibrium can be re-established which resembles the initial one, but with significant differences. The opening scene by itself does not reveal the riddling nature of the advice. Instead, it lets us see the constellation also from the other point of view - that of Holly and, by extension, the Nakatomi Corporation. As McClane lands and leaves the airport, we cross-cut to the Christmas party at the Corporation headquarters, the speech of the CEO, and Holly telephoning her maid at home and speaking to her daughter. From this combined perspective of...

Download Instructions for Urban Survival Guide

The best part is you do not have to wait for Urban Survival Guide to come in the mail, or drive to a store to get it. You can download it to your computer right now for only $47.00.

Download Now