01988    a2200169   4500999001700000020001800017082001900035100002500054245004500079260004500124300001200169504003600181520135900217650008901576942001201665952014101677  c26177d26177  a9780253015563  a973.931bSTU-9  aStubblefield, Thomas  a9/11 and the Visual Culture of Disaster   bIndiana University Pressc2015aIndiana   aix,236p  aInclude Bibliography and Index
  aThe day the towers fell, indelible images of plummeting rubble, fire, and falling bodies were imprinted in the memories of people around the world. Images that were caught in the media loop after the disaster and coverage of the attack, its aftermath, and the wars that followed reflected a pervasive tendency to treat these tragic events as spectacle. Though the collapse of the World Trade Center was "the most photographed disaster in history," it failed to yield a single noteworthy image of carnage. Thomas Stubblefield argues that the absence within these spectacular images is the paradox of 9/11 visual culture, which foregrounds the visual experience as it obscures the event in absence, erasure, and invisibility. From the spectral presence of the Tribute in Light to Art Spiegelman's nearly blank New Yorker cover, and from the elimination of the Twin Towers from television shows and films to the monumental cavities of Michael Arad's 9/11 memorial, the void became the visual shorthand for the incident. By examining configurations of invisibility and erasure across the media of photography, film, monuments, graphic novels, and digital representation, Stubblefield interprets the post-9/11 presence of absence as the reaffirmation of national identity that implicitly laid the groundwork for the impending invasions of Iraq and Afghanistan  aHistory--USAvTerrorismvSeptember,11 Terrorist Attacks (2001)vReligious Influence   2ddccBK  00104070aNASSDOCbNASSDOCd2020-07-06eOPg1428.62i2020-06-11l0o973.931 STU-9p50938r2020-07-13 00:00:00v1957.02w2020-06-11yBK