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Images of Falling Through 9/11 and Beyond

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Images of Falling Through 9/11 and Beyond FALLING THROUGH THE MESHWORK: IMAGES OF FALLING THROUGH 9/11 AND BEYOND by REBECCA CLAIRE JUSTICE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY American and Canadian Studies Centre School of English, Drama, American & Canadian Studies College of Arts and Law University of Birmingham December 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis considers images of the falling body after the terrorist attacks of 11 September 2001, starting with Associated Press photographer Richard Drew’s photograph of a person falling to their death from the north tower of the World Trade Center. From this specific photograph, this thesis follows various intersecting lines in what I am calling a meshwork of falling-body images. Consequently, each chapter encounters a wide range of examples of falling: from literature to films, personal websites to digital content and immersive technologies to art works. Rather than connecting these instances like nodes, this thesis is more concerned with exploring lines of relation and the way the image moves along these lines. Drew’s image, as a photograph of impending death, is often treated as an object of national trauma, but this thesis asks: what about when Drew’s photograph is considered through the institutional framings that both produced and published the image? What about when it is used in personal web spaces and memorials? What about when the image of public death is deemed a lie? What about when it is used for comic effect? What about when immersive technologies place the viewer in tangible contact with the falling-body image? What about when this contact encounters feelings of love and the celebration of life? By answering these questions, this thesis will argue that the falling-body image offers an alternative perspective of the attacks: as enmeshed in the unfolding lines of life of web users, artists, directors and writers alike. The potential significance of this research is to understand the terrorist attacks of September 2001 as continually unfolding in the meshwork of everyday life. In this way, this thesis outlines the ways we have lived with the image of falling, and the event itself, and how we continue to experience its consequences. Acknowledgements To my incredible supervisors – John Fagg and Zara Dinnen. John – thank you for your patience and guidance during that rocky first year, and beyond. Zara – thank you for coming into this project at exactly the right time, and giving my research (and me) a much needed boost. Thank you both for getting me to the finish line in one piece. I would also like to extend my gratitude to the College of Arts and Law for their funding of this research, and allowing me the freedom to dedicate three years to the project. To all the wonderful people I have met in the last three years at Birmingham, both in the American and Canadian Studies Centre and throughout the university, thank you for your generosity and enthusiasm. I would especially like to thank Mags Conway, Sara Wood, Jimmy Packham and Danielle Fuller for their expertise and support both as a researcher and teaching assistant, and Michele Aaron for her help during the initial months of my research. I must also acknowledge Carl Plasa from Cardiff University, as well as Sinéad Moynihan and Paul Williams from the University of Exeter, for their encouragement during the application process, not to mention for guiding and inspiring me during my time in their departments. To my friends – especially Natalie, Catherine, Siân, Becki and Anje – for everything, but most importantly for all the times we talked about anything but my research. To Jan and Steve – thank you for your warmth, encouragement and for pretending that looking after the dog was a favour to you rather than a joy for me. To my family – especially my grandparents, Eddie and Beryl, and my auntie Claire – for your unwavering support throughout my entire life, let alone these last three years. To my parents – Simon and Caryn – my twin pillars – who never set limitations on my potential, believed I could do this even, and especially, when I was convinced I could not and without whom none of this would have ever been possible. This achievement is yours as much as it is mine. I will never be able to say thank you enough. Sorry for never making it to the Wimbledon final, though. Finally, I dedicate this thesis to Michael. It is well-documented that doing a PhD is never going to be easy, but those living with someone doing a PhD are the unsung heroes of the process. Thank you for making me laugh without fail, for never having any doubt that I would finish and for living with me and my research in a flat the size of a postage stamp. Now is the time for us to do all those things we have been saying we are going to do “after”. Contents Introduction: Falling Through the Meshwork 0.1 A Person Falls ............................................................................................................... 1 0.2 “[S]ome jumped or fell from the building”: The 9/11 “Jumpers” .......................... 5 0.3 “Looking is often the quickest way to fall”: Critical Understandings of Falling . 11 0.4 “The scrap of an image”: Visual Culture and the Meshwork 0.4.1 Visual Culture .............................................................................................................. 20 0.4.2 The Meshwork .............................................................................................................. 23 0.5 Thesis Structure ......................................................................................................... 28 1. Richard Drew and N.R. Kleinfield: Falling, Framing and Walking 1.1 Two Men at the Trade Center .................................................................................. 33 1.2 The Framing Narrative ............................................................................................. 37 1.3 “A photojournalist is very much like an athlete”: Richard Drew’s Photograph 1.3.1 Richard Drew ............................................................................................................... 44 1.3.2 “Get it first, get it fast, get it right”: Robert Kennedy and the Associated Press ........ 50 1.4 Journalism’s Falling-Body Image: N. R. Kleinfield and the New York Times 1.4.1 N. R. Kleinfield ............................................................................................................. 59 1.4.2 The Falling-Body Image in the “Newspaper of Record” ............................................ 64 1.5 Ambulatory Knowing in Manhattan: Drew, Kleinfield and Extremely Loud and Incredibly Close........................................................................................................... 69 2. A Digital Access to Intimacy and the Long Afterlife of the World Trade Center “Jumpers” 2.1 The Falling Body Remixed and Recirculated .......................................................... 79 2.2 Tom Junod, Esquire and the Internet 2.2.1 The “Junod Image”: Tom Junod and Esquire Magazine ............................................ 85 2.2.2 Resistance to Junod: Personal Blogs and Web Memorials ......................................... 94 2.3 The Internet Underbelly: The Falling Body Online 2.3.1 The Falling-Body Image: Conspiracy Theory ........................................................... 103 2.3.2 The Falling-Body Image: Internet Meme .................................................................. 111 2.4 Finding the Images: Online Scrapbooks and Carolee Schneemann 2.4.1 Collecting Stories: “NYC Stories” and “here is new york”...................................... 118 2.4.2 Drawing Her Body: Carolee Schneemann and the Falling-Body Image .................. 125 3. “[C]ompletely raw comes the memory”: Falling and Performing at the World Trade Center 3.1 “[T]he biggest tombstones in the world”; or a Brief History of the World Trade Center ............................................................................................................................ 132 3.2 “[T]he earth-bound man-in-black”: Representations of Philippe Petit’s Wire-Walk 3.2.1 The “Unfathomable Void”: Philippe Petit Between the Towers ............................... 136 3.2.2 “The texture of the moment”: Man on Wire and Let the Great World Spin ............. 143 3.3 Phantoms of Progress, Ghosts of Destruction: The Freedom Tower BASE Jumps 3.3.1 “[O]n the thin edge of nothingness”: Jumping from the World Trade Center ......... 150 3.3.2 Elongating the Ephemeral: Moving with the Image .................................................. 157 3.4 The World Trade Center as Haptic Space 3.4.1 GoPro and Haptic Visuality....................................................................................... 165 3.4.2 “Death is very close”: The World Trade Center and The Walk ............................... 170 4. Falling in Love with Falling: Joy and the Falling Body 4.1 The Buoyant Fall .....................................................................................................
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