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03703aam a22004338i 4500 001 06CA56242A8711EDB7025AE94EECA4DB 003 SILO 005 20220902011726 008 220202t20222022nyua b 001 0 eng 010 $a 2021051933 020 $a 1438489269 020 $a 9781438489261 020 $a 1438489277 020 $a 9781438489278 035 $a (OCoLC)1287919458 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d OCLCO $d UKMGB $d EAU $d SILO 042 $a pcc 043 $a n-us--- 050 00 $a PN1995.9 T46 B46 2022 100 1 $a Ben-Youssef, Fareed, $d 1987- $e author. 245 10 $a No jurisdiction : $b legal, political, and aesthetic disorder in post-9/11 genre cinema / $c Fareed Ben-Youssef. 263 $a 2207 264 1 $a Albany : $b State University of New York Press, $c [2022] 300 $a xiii, 235 pages : $b illustrations ; $c 23 cm. 490 1 $a SUNY series, horizons of cinema 504 $a Includes bibliographical references (pages 207-219) and index. 505 0 $a Introduction. Hollywood at Ground Zero: confessions of a conflicted fan -- 1. "It was like a movie!": theorizing the eerie symmetries of a War of Terror -- 2. On the frontier between hate and empathy: the post-9/11 border Western -- 3. Femmes fatales as torturers and lost detectives in a fragile city: post-9/11 noir -- 4. Soaring above the law: the post-9/11 superhero -- "5. 9/11 transformed the whole planet, not just America!" the War of Terror's shadow across global law and cinema. 520 $a "A deeply personal study of post-9/11 film that exposes how genre can frame the shifting meanings of the War on Terror and its impact on American law and culture"-- $c Provided by publisher. 520 $a No Jurisdiction interweaves autobiography and analysis to explore how a disabled American of French-Arab descent justifies his love for the (super)heros who destroy brown people like himself. Framing Hollywood genre films as a key to understanding a crisis-filled world shaped by the global War on Terror, Fareed Ben-Youssef shows how, in response to 9/11, filmmakers and lawmakers mobilized iconic characters--the cowboy, the femme fatale, and the superhero--to make sense of our traumas and inspire new legal landscapes. The competing visions of power produced in this dialogue between Hollywood entertainment and mainstream politics underscore genre cinema's multivalent purpose: to normalize state violence and also to critique it. Chapters devoted to the Western, film noir, superhero movies, and global films that deploy and comment on these genres offer compelling readings of films ranging from the more apparent (The Dark Knight, Sicario, and Logan) to the more unexpected (Sin City, Adieu Gary, The Broken Circle Breakdown, and Tokyo Sonata). Through narratives of states of emergency that include vaguely defined enemies, obscured battlefield boundaries, and blurred lines between victims and perpetrators, a new post-9/11 film canon emerges. No Jurisdiction is a deeply personal work of film scholarship, arguing that we can face our complicity and discover opportunities for resistance through our beloved genre movies--back cover. 650 0 $a September 11 Terrorist Attacks, 2001, in motion pictures. 650 0 $a September 11 Terrorist Attacks, 2001 and motion pictures. 650 0 $a War on Terrorism, 2001-2009 and motion pictures. 650 0 $a Film genres $z United States. 650 0 $a Motion pictures $x History $z United States $x History $y 21st century. 830 0 $a SUNY series, horizons of cinema. 941 $a 1 952 $l USUX851 $d 20221103011625.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=06CA56242A8711EDB7025AE94EECA4DB 994 $a C0 $b IWAInitiate Another SILO Locator Search