The Impact of 9-11 on the Media, Arts, and Entertainment is the fourth volume of the six-volume series The Day that Changed Everything? This volume's contributors include P.J. Crowley, Mel Dubnick, Nancy Snow, Michèle Cloonan, and other leading scholars.

The Impact of 9/11 and the New Legal Landscape is the third volume of the six-volume series The Day that Changed Everything? edited by Matthew J. Morgan. The series brings together from a broad spectrum of disciplines the leading thinkers of our time to reflect on one of the most significant events of our time.

Much of the writing on the post-9/11 period in the United States has focused on the role of "official" Government rhetoric about 9/11. Those who have focused on the news media have suggested that they played a key role in (re)defining the nation, allowing the citizenry to come to terms with 9/11, in providing ‘official’ understandings and interpretations of the event, and setting the terms for a geo-political-military response (the war on terror). However, strikingly absent from post-9/11 writing has been discussion on the role of sport in this moment. This text provides the first, book-length account, of the ways in which the sport media, in conjunction with a number of interested parties – sporting, state, corporate, philanthropic and military – operated with a seeming collective affinity to conjure up nation, to define nation and its citizenry, and, to demonize others. Through analysis of a variety of cultural products – film, children’s baseball, the Super Bowl, the Olympics, reality television – the book reveals how, in the post-9/11 moment, the sporting popular operated as a powerful and highly visible pedagogic weapon in the armory of the Bush Administration, operating to define ways of being American and thus occlude other ways of being.

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.

Even though much has been said and written about 9/11, the work developed on this subject has mostly explored it as an unparalleled event, a turning point in history. This book wishes to look instead at how disruptive events promote a network of associations and how people resort to comparison as a means to make sense of the unknown, i.e. to comprehend what seems incomprehensible. In order to effectively discuss the complexity of 9/11, this book articulates different fields of knowledge and perspectives such as visual culture, media studies, performance studies, critical theory, memory studies and literary studies to shed some light on 9/11 and analyze how the event has impacted on American social and cultural fabric and how the American society has come to terms with such a devastating event. A more in-depth study of Don DeLillo’s Falling Man and Jonathan Safran Foer’s Extremely Loud and Incredibly Close draws attention to the cultural construction of catastrophe and the plethora of cultural products 9/11 has inspired. It demonstrates how the event has been integrated into American culture and exemplifies what makes up the 9/11 imaginary.

In the past decade, our rapidly changing world faced terrorism, global epidemics, economic and social strife, new communication technologies, immigration, and climate change to name a few. These fears and tensions reflect an evermore-interconnected global environment where increased mobility of people, technologies, and disease have produced great social, political, and economical uncertainty. The essays in this collection examine how monstrosity has been used to manage these rising fears and tensions. Analyzing popular films and televisions shows, such as True Blood, Twilight, Paranormal Activity, District 9, Battlestar Galactica, and Avatar, it argues that monstrous narratives of the past decade have become omnipresent specifically because they represent collective social anxieties over resisting and embracing change in the 21st century. The first comprehensive text that uses monstrosity not just as a metaphor for change, but rather a necessary condition through which change is lived and experienced in the 21st century, this approach introduces a different perspective toward the study of monstrosity in culture.

This book examines the figure of the sleeper agent as part of post-9/11 political, journalistic and fictional discourse. There is a tendency to discuss the terroristic threat after 9/11 as either a faraway enemy to be hunted down by military force or, on the other hand, as a ubiquitous, intangible threat that required constant alertness at home. The missing link between these two is the sleeper agent – the foreign enemy hiding among US citizens. By analyzing popular television shows, several US comic books, and a broad variety of Hollywood films that depict sleeper agents direct or allegorically, this book explores how a shift in perspective—from terrorist to sleeper agent—brings new insights into our understanding of post-9/11 representations of terrorism. The book’s interdisciplinary focus between media studies, cultural studies, and American studies, suggests that it will find an audience in a variety of fields, including historical research, narratology, popular culture, as well as media and terrorism studies.