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"Shadows Fiction."
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\Now the Gloves Come Off\: The Problematic of \Enhanced Interrogation Techniques\ in \Battlestar Galactica\
\"11 In May 2004, Donald Rumsfeld, commenting on the abuses uncovered at Abu Ghraib, undermined the seriousness of prisoner treatment: \"My impression is what has been charged thus far is abuse, which I believe technically is different from torture . . . and therefore I'm not going to address the 'torture' word. Later, over a whiskey, Adama (Edward James Olmos), the ship's commander, tells Roslin, [T]hat's a helluva risk you took today, care to tell me why? She replies, The interesting thing about being president is that you don't have to explain yourself to anyone, a sobering reminder that in times of war, laws can be reinterpreted.21 It's a prophetic conclusion to the episode, for in 2006 President George W. Bush signed a bill outlawing the torture of detainees in which he included a 'signing statement,' declaring that he would view the interrogation limits in the broader context of his broader powers to protect national security . . . [and] an official cited as an example a 'ticking bomb scenario' in which a detainee is believed to have information that could prevent a planned terrorist attack.
Journal Article
George and his shadow
One morning George finds his shadow sitting at his kitchen table, and through a day of being followed and annoyed by it, George learns to love having his shadow to play with.
Book
Adapting Watchmen after 9/11
The book's gritty, downbeat take on the question \"What if superheroes really existed?\" is expressed less through its plot than through the very premise of its diegesis, an alternate reality in which Richard Nixon is entering his fifth term as president and the United States has handily won the Vietnam War with the help of Watchmen's one true superbeing, Dr.\\n That mass deception underlies Veidt's plan now seems an ironic commentary on 9/11 to those who believe the attacks enabled the US government to define the responsible forces as a shadowy network whose conveniently elastic boundaries could both dilate to encompass whole cultures and contract to enable the torture of individual suspects.
Journal Article
Groundhug Day
\"Moose is planning the biggest Valentine's Day party ever. But can he convince his friend, Groundhog, to stay around to celebrate without hiding from his shadow?\"-- Provided by publisher.
Book
\9/11— What's That?\: Trauma, Temporality, and Terminator: The Sarah Connor Chronicles
Rather than being a simple repetition of a past event, Sarah's trauma parallels that of the post-9/11 world, since it is also stuck in a state of anticipation of a future (Armageddon) that is much like the past.4 Sarah and John cycle through trauma that is both post-traumatic (informed by the horrors of the past) and preemptive (anticipating the terrors of the future) through their own memories of past encounters with terminators, through the violence of their present, and through the threat of future nuclear annihilation. [...] the protagonists exist in the continual \"ticking bomb\" scenario that the Bush administration used to justify the use of torture against suspected terrorists.
Journal Article
The league of beastly dreadfuls
Anastasia, nearly eleven, is snatched from her elementary school and sent to live at a former insane asylum with two great-aunts she had never met after being told that her parents died in a tragic vacuum cleaner accident.
Book
I got next
\"A young basketball player receives inspiration from a surprising place and joins [a] competition ready to try his best\"-- Provided by publisher.
Book
Remember Everything, Absolve Nothing: Working through Trauma in the Bourne Trilogy
The political and military response presented a binary opposition between \"us\" (the United States) and \"them\" (terrorists), which avoided critical analysis.1 Similarly, although 9/11 provided what Susan Sontag called \"a monstrous dose of reality,\" the response was, for some, a replacement of politics with psychotherapy, indicating more concern with treating the traumatized \"victims\" than with identifying the motivations for the attacks.2 However, various popular entertainment texts did undertake a form of political criticism, as noted by Liz Powell in her contribution to this In Focus. In his DVD commentary, Greengrass describes his intention to give the film a \"strong contemporary edge,\" but his attention is focused not so much on the threat of terrorism as on the paranoid culture and \"focused brutality\" of antiterrorism that have become familiar in the post-9/11 landscape.4 Bourne's enemy in Ultimatum is CIA counterterrorist division Blackbriar, successor to the Treadstone program under which Bourne previously operated.
Journal Article