Abstract
This essay critiques the popular media debates regarding the cinematic and societal merits of United 93 , Hollywood's first major film about September 11, 2001. Whether and why the public would pay to see 9/11 on the big screen was discussed as a gauge of Americans' sensibilities regarding that tragic day and the responsibilities of its public memory. Specifically, this essay critiques the popular press polemics on the issues of Hollywood's appropriateness as an agent of public memory, the audiences' motives for seeing United 93 , and the degree to which the film was reported to adhere to the known facts about that tragic flight. The analysis reveals several troubling tensions regarding how the public articulation of national history in the media works counterproductively to preclude, rather than aid, audiences' abilities to engage in thoughtful and useful public contemplation.Preview Only. This article cannot be rented because we do not currently have permission from the publisher.
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