250 high resolution color photographs arranged in a chronological sequence and showing the disastrous aftermath of two airplanes crashing into the Twin Towers of the World Trade Center in lower Manhattan after being highjacked by terrorists on September 11, 2001. Includes the burning towers seen from uptown; the photographer's trip to the ground zero area; and the conditions north of the World Trade Center, near West Street. Also views of New York City Fire Department fire fighting and rescue operations in the areas near West Street, the Verizon Building, 7 World Trade Center, the North Bridge, the Customs House, the Winter Garden, and the American Express Tower at the World Financial Center.

Unattributed 9.11 Photographer's book, '9/11 THROUGH THE LENS (250 Pictures of the Tragedy),' is a powerful collection of photographs capturing the events of September 11, 2001. The book serves as a somber reminder of the tragic day and the impact it had on the world. Each image is carefully selected to evoke raw emotions and provide a glimpse into the chaos and devastation of that fateful day. The book's documentary style and attention to detail make it a valuable historical record of the 9/11 attacks. With 250 compelling pictures, readers are taken on a visual journey through the aftermath of the tragedy. Unattributed 9.11 Photographer's extensive experience in photojournalism shines through in the poignant images that document the aftermath of 9/11. His dedication to capturing the reality of the tragedy and preserving it for future generations is evident in every photograph. The author's commitment to truth and remembrance is commendable, making '9/11 THROUGH THE LENS' a must-read for anyone seeking to understand the lasting impact of 9/11. This poignant and thought-provoking book is recommended for readers who appreciate powerful visual storytelling and want to honor the memory of those affected by the tragedy.

The instant #1 New York Times bestseller. In time for the twentieth anniversary of 9/11, master storyteller Alan Gratz (Refugee) delivers a pulse-pounding and unforgettable take on history and hope, revenge and fear -- and the stunning links between the past and present. September 11, 2001, New York City: Brandon is visiting his dad at work, on the 107th floor of the World Trade Center. Out of nowhere, an airplane slams into the tower, creating a fiery nightmare of terror and confusion. And Brandon is in the middle of it all. Can he survive -- and escape? September 11, 2019, Afghanistan: Reshmina has grown up in the shadow of war, but she dreams of peace and progress. When a battle erupts in her village, Reshmina stumbles upon a wounded American soldier named Taz. Should she help Taz -- and put herself and her family in mortal danger? Two kids. One devastating day. Nothing will ever be the same.

Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.

Tuesday, Sep. 11, 2001, dawned cool and clear, with sunny skies all along the eastern seaboard. For Air Force aviators like Lt. Col. Timothy "Duff" Duffy of the 102d Fighter Wing at Otis Air National Guard Base, Massachusetts, the day held the promise of perfect flying weather, at a time when the U.S. civil aviation system was enjoying a period of relative peace, despite concerns about a growing terrorist threat. More than ten years had passed since the last hijacking or bombing of a U.S. air carrier. That morning, however, the country came under a shocking, coordinated aerial assault by nineteen al Qaeda hijackers...The attack plan carried out by the suicide operatives had been years in the making. It was intended to cause mass, indiscriminate casualties and to destroy or damage the nation’s financial, military, and political centers, four high value U.S. targets selected by bin Laden, independent operator Khalid Sheikh Mohammed, and al Qaeda operations chief Mohammed Atef... By the time 1 World Trade Center, North Tower, collapsed at 10:28 a.m. EDT, almost three thousand people had been killed or were dying; the financial center of the U.S. had been reduced to burning, toxic rubble; the iconic symbol of the military strength of the country had been severely damaged; the tranquility of a field in Pennsylvania had been shattered; U.S. Air Force and Air National Guard fighter aircraft had set up combat air patrols over Washington, D.C., and New York City; and the administration of President George W. Bush and the Department of Defense (DOD) had begun shifting major resources of the federal government and military services to a new national priority, homeland defense.

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.

Photography does more than simply represent the world. It acts in the world, connecting people to form relationships and shaping relationships to create communities. In this beautiful book, Margaret Olin explores photography’s ability to “touch” us through a series of essays that shed new light on photography’s role in the world. Olin investigates the publication of photographs in mass media and literature, the hanging of exhibitions, the posting of photocopied photographs of lost loved ones in public spaces, and the intense photographic activity of tourists at their destinations. She moves from intimate relationships between viewers and photographs to interactions around larger communities, analyzing how photography affects the way people handle cataclysmic events like 9/11. Along the way, she shows us James VanDerZee’s Harlem funeral portraits, dusts off Roland Barthes’s family album, takes us into Walker Evans and James Agee’s photo-text Let Us Now Praise Famous Men, and logs onto online photo albums. With over one hundred illustrations, Touching Photographs is an insightful contribution to the theory of photography, visual studies, and art history.