This exciting collection raises important questions regarding what journalism should look like after the events of September 11th. It will be necessary reading for those concerned with the integrity of journalistic practice.

This exciting collection raises important questions regarding what journalism should look like after the events of September 11th. It will be necessary reading for those concerned with the integrity of journalistic practice.

From the Newsuem, America's only museum of news, comes the definitive book detailing behind the scenes of how journalist covered the deadly assaults of September 11, 2001.

Tells what it was like for TV and radio journalists to report the terrifying story of their lives.

"This volume investigates the perception of threat, with particular regard to the roles, functions, and agencies of various types of media. With a focus on the profound impact of the terrorist attacks on September 11, 2001 on the US-American political, social, and cultural order, the chapters reach from the early days after the attacks up to the 2016 election of Donald J. Trump. An international team of contributors analyze how the perceived threats and their subsequent representations changed during this period and what part different forms of media-media institutions, media technologies, and media formats-played within these transformations. Media theoretical perspectives are thus combined with historical approaches to examine the "re-ordering" of the nation, the state, and society proposed in an increasingly converging, multimodal, and networked media environment. This book's focus on the interrelation between Media Studies, Cultural Studies, and American Studies makes it an indispensable landmark for fields such as Historical Research, Media Theory, Narratology, and Popular Culture Studies"--

In 9-11, published in November 2001 and arguably the single most influential post 9-11 book, internationally renowned thinker Noam Chomsky bridged the information gap around the World Trade Center attacks, cutting through the tangle of political opportunism, expedient patriotism, and general conformity that choked off American discourse in the months immediately following. Chomsky placed the attacks in context, marshaling his deep and nuanced knowledge of American foreign policy to trace the history of American political aggression--in the Middle East and throughout Latin America as well as in Indonesia, in Afghanistan, in India and Pakistan--at the same time warning against America’s increasing reliance on military rhetoric and violence in its response to the attacks, and making the critical point that the mainstream media and public intellectuals were failing to make: any escalation of violence as a response to violence will inevitably lead to further, and bloodier, attacks on innocents in America and around the world. This new edition of 9-11, published on the tenth anniversary of the attacks and featuring a new preface by Chomsky, reminds us that today, just as much as ten years ago, information and clarity remain our most valuable tools in the struggle to prevent future violence against the innocent, both at home and abroad.

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.