Wetmore’s Post-9/11 Horror in American Cinema, Stacy Takacs’s Terrorism TV, Fran Pheasant-Kelly’s Fantasy Film Post-9/11, Guy Westwell’s Parallel Lines: Post-9/11 American Cinema and Terence McSweeney’s The War on Terror and American Film, as well as numerous edited collections on the same subject (Dixon Schopp and Hill Birkenstein et al. These include monographs such as Douglas Kellner’s Cinema Wars, Stephen Prince’s Firestorm, Kevin J. To this end, Gender in Post-9/11 American Apocalyptic TV joins a weighty corpus of scholarly work similarly preoccupied with screen representations of 9/11 and its geopolitical repercussions. Telecast almost fifteen years after the traumatic incidents it evokes, Bennett notes that Heroes Reborn is entirely symptomatic of a televisual culture that “has not yet entirely got over its preoccupation with the horrific events of September 11th, 2001” (1). Eve Bennett begins her new book, Gender in Post-9/11 American Apocalyptic TV: Representations of Masculinity and Femininity at the End of the World, by describing the apocalyptic aftermath of a suicide bombing in Heroes Reborn (2015).
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