distribution of Hollywood and foreign films after the terrorist attacks of September 11, 2001, and examine how moviemaking has changed to reflect the new world climate. While some contemporary films offer escapism, much of mainstream American cinema since 9/11 is centered on the desire for a “just war” in which military reprisals and escalation of warfare appear to be both inevitable and justified. Films of 2002 such as Black Hawk Down, Collateral Damage, and We Were Soldiers demonstrate a renewed audience appetite for narratives of conflict, reminiscent of the wave of filmmaking that surrounded American involvement in World War II. The attacks on the World Trade Center and the Pentagon galvanized the American public initially, yet film critics wonder how this will play out over time. Film and Television After 9/11 is the first book to provide original insights into topics ranging from the international reception of post-9/11 American cinema, re-viewing films of our shared cinematic past in light of the attacks, and exploring parallels between post-9/11 cinema and World War II-era productions.

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