Terrorism in American Cinema: a Call to Stand United?
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Ghent University Faculty of Arts 2014 - 2015 Terrorism in American cinema: A call to stand united? Political analysis of African Americans in terrorist fiction movies A Literary Approach Thesis presented by Nikki Peeters Supervisor: Prof. Dr. Rob Kroes Dissertation submitted to obtain the academic degree of Master in American Studies. Declaration I, Nikki Peeters, certify that this thesis is my original work and there is no previous submission for a degree or other purposes, which have been made here or elsewhere. Other sources of information used in this work, are acknowledged in the bibliography to the corresponding authors. Permission for consulting or copying parts of the thesis for personal use is given by the author and the promoter. Use of the thesis for other purposes is subject to the copyright laws, more specifically it is obligatory to cite the source when using thesis’s results. This thesis was written under the guidance of Professor Dr. Rob Kroes at Ghent University. ii Preface For finishing this dissertation, I would like to thank Professor Rob Kroes and the Master Program in American Studies in general. The courses have truly opened my eyes to new perspectives and knowledge on the complexity and diversity of the American nation-state. In addition, I am very grateful to my brilliant sister, always there to help, guide and inspire me. I would also like to thank my parents and grandparents for believing in me and supporting me throughout every endeavor. iii Content 0. Abstract………………………………………………………………………………...1 1. Introduction…………………………………………………………………………….2 1.1. 9/11 and terrorism……………………………………………………………..3 1.2. Terrorism and cinema…………………………………………………………6 2. Conceptions of patriotism, national idenity and unity ……………………………….12 2.1 Patriotism and war……………………………………………………………13 2.2 Patriotism and national identity………………………………………………14 2.3 Patriotism and unity…………………………………………………………..15 3. Responses after 9/11….………………………………………………………………17 3.1 General response ……………………………………………………………..17 3.2 African Americans’ response…………………………………………………19 3.2.1 As seen after World War II..………………………………….19 3.2.2 As seen after 9/11 …………………………………………….21 4. Cinema as an interpreting and influencing medium………………………………….26 4.1 Politics in cinema……………………………………………………………..26 4.2 Fictional terrorist movies……………………………………………………..27 4.2.1 Vantage Point (2008) ………………………………………...28 4.2.2 Unthinkable (2010) …………………………………………..31 4.2.3 Olympus has Fallen (2013)…………………………………...33 4.2.4 White House Down (2013) …………………………………...36 4.3 Our transatlantic understanding………………………………………………40 5. Conclusion……………………………………………………………………………42 6. Bibliography …………………………………………………………………………43 iv 0. Abstract This dissertation examines the cinematic representations of terrorism after 9/11 and during the War on Terror. It takes up the notion that American popular culture offers a lens through which certain events and opinions are perceived. Therefore, it is needed to address the validity of cinematic representations relating to actual conditions and political stances and gather possible influences for persuasion and interpretation. Within this perspective, I have examined the reactions of African Americans after 9/11 and the War on Terror by their military commitment. These responses offered a deeper understanding of internal responses to terrorism in the United States. By researching the conceptions of patriotism, national identity and unity, it is researched in what way a racial group could differentiate from a general response. After having gathered African Americans’ reaction to the War on Terror by their enlistments and public polls, I have been able to benchmark their involvement by discussing four fiction movies that exploit the theme of terrorism. I made use of political theory in my political analysis of the movies by observing political content and intent. This has shown that although African Americans are provided with a lead role, they remain to be overshadowed by the white hero. Moreover, a deeper analysis shows that their characters remain to deviate from American conservative policies. The movies released in theaters reflect influences of persuasion and interpretation by including patriotic references and 9/11 allegories. The effect on an African American public concerns the choices made in depicting terrorism. Patriotism and 9/11 references recall an “us versus them” dialogue to which African Americans do not feel connected. In addition, the simplification of the terrorist enemy and victimizing and legitimizing own actions reflect the ease by which “the other” is reduced. These notions will cause an African American public to deviate even further from a national identity. A wider implication concerns future generations who will come to understand terrorism after 9/11 by these simplified representations of terrorism. In a transatlantic understanding, the Unites States reveals its own failure to recognize its enemies and grasp the stereotyping effect of movies on its own “melting pot”. 1 1. Introduction We live in an age of information. Our continuous accessibility to news and images from around the world feeds our hunger for knowledge, whether their accuracy is proven or not, our interpretations of reality are mediatized. American images crossing the Atlantic provide us with an idea or perspective on specific events. Cinema is able to take up these events and add new storylines and ideas. However, Hollywood’s rendering of sensitive issues needs to be addressed as Americans “rely on mass media to inform, educate, and entertain themes about contemporary political issues”. (Dodds, 2008, 2) As movies, television series and documentaries find endless material in historical and actual occurrences, my research concerns the accuracy of cinematic representations and its ability to reflect or shape interpretations of reality. Within a cinematic context of actual events, I examine the representations initiated by an event that has already reached every part of the world in images, namely the attacks on September 11th, 2001 (these events are referred to thereafter as "9/11"). The moment when the planes struck the WTC towers was a moment of international astonishment. The obsolete imperialistic strength of the United States was evidently marked on every local and national news channel. It took long for American cinema to overcome their reluctance and portray the events in films as United 93 (2006) and World Trade Center (2006). With the commencement of the War on Terror, several fiction and non-fiction movies were made that underlined the consequences and threats of terrorism. President Bush stated in his Address to the Nation on September 11th, “America and our friends and allies join with all those who want peace and security in the world, and we stand together to win the war against terrorism. (…) This is a day when all Americans from every walk of life unite in our resolve for justice and peace”. As wars and external threats seem to unite people against a common enemy, cinema is a valuable medium in pursuing this. If national unity is represented in cinematic representations of terrorism, would this be a reflection of reality or rather an attempt in shaping our interpretations and actions? In this perspective, I examine possible sentiments of African Americans and their depiction in cinema. Therefore, I research their reactions towards 9/11 and the War on Terror by their willingness to join forces. When their reaction corresponds to their portrayal in fictional terrorist movies, it is a reflection of reality. However, if not, it could be examined as a potential form of patriotism and propaganda. In this case, our transatlantic readings of these movies distort our image on reality and may be considered as cultural diplomacy to justify their actions. 2 I will begin this dissertation with outlining the conceptions of terrorism and giving a brief history of their representation in fiction and non-fiction movies. Afterwards, I will focus on the statement that patriotism and national unity are strengthened during external threats or war. I will then discuss the responses of African Americans to 9/11 and the War on Terror. In the last part of this thesis, I will analyze a selection of non-fiction terrorist movies for their political intent, reflect on their portrayal of African Americans and argue whether these representations fit with reality or not. More specifically, I will research in what way they deviate from reality, shaping a viewer’s understanding, and how this can be seen as a potential form of propaganda or soft power. 1.1 9/11 and terrorism Before discussing the parameters of national unity and the accompanying behaviors, I will first elaborate on what has been set in motion after 9/11. I will describe some of the conceptions concerning terrorism, as these definitions reflect the setting in which cinema became fueled with diverse material and ideas. On the 9th of September 2001, the Islamic terrorist group al-Qaeda committed four terrorist attacks on the United States in New York City and the metropolitan area of Washington, D.C., ending the lives of 2,996 people. The attacks severely shattered America’s self-belief and seeming invincibility. As previous terrorist attacks did not occur on their own territory, Americans had been feeling inviolable (Chaliand, Blin, Schneider, Pulver, & Browner, 2007). However, their dedication to interventionism presented them with a bitter consequence and made them face a suppressed reality. The failed understanding of other nations