European Cinema: 9/11 Films - Coursework Example

Introduction The concept of crossing borders with identity is one that is beginning to reach various components within film. The transnational identity has been used through various films to create a different approach to the concepts of borders and the movement beyond national boundaries. This has created statements that not only define different identities, but also which focus on a changed perspective in the understanding of current events and the relationship that many have when focusing on identity and the blurring of borders. Understanding how this is used to represent a different set of concepts in the media is then able to depict a different set of concepts related to the culture of the time. Scenes and Shots from the Film One of the main concepts that is linked to the idea of the national and transnational in film is based on the idea of what identity means when looking at a global perspective, as opposed to a national angle. National cinemas are defined first by the historical and cultural connotations that are linked to a certain time period or movement in history, specifically which reflects the identity of a nation. The idea of the transnational is able to transcend this and to move into a cross between different cultures to show the link between different areas on the globe. Most importantly, this is linked to the concepts of political, cultural and economic situations that are seen in various areas of the world and which several can link to. This is specific in not having to create national boundaries that are within the film, so as to show the idea of moving across the globe with the same political and cultural themes in place. The 9/11 short films depict the idea of moving across boundaries to show a central theme. The director focuses on the theme of 9/11 as a historical moment, not only from the United States stance, but also from the global perspective. This ties in history, regions of the world and different areas of the globe, all which have suffered from the same problem. For instance, an opening scene depicts the idea of transnational borders through the narration used. It is stated, “I’m a Chilean. I live in London, so perhaps we have something in common. Your loved ones were murdered as mine were… I voted for the first time. We had a dream that we could build something with this country… And we won.” This opening narration is important in depicting the transnational borders on several levels. The first is by describing the several national borders which relate to each other. The second is the ideas of democracy, freedom and governmental change that occurs, which also is a universal theme across each border. By doing this, the director is able to create a specific relationship to the various controversies and philosophies in politics and culture which transcends borders. The idea of the transnational is furthered with the cosmopolitan ideals that are used throughout the film to relay this central idea. This is done by taking the historical and moving it into a modern context, both which transcend not only the boundaries that are created, but also which are able to create a sense of nationalism that moves across time and into the present context. This is one that is designed to work with both nationalism and transnational identity, specifically to relate the overall theme of the movie. “Communities are to be distinguished, not by their falsity / genuineness, but by the style in which they are imagined…. It is imagined because the members of the smallest nation will never know most of their fellow members, meet them, or even hear of them, yet in the minds of each lives the image of their communion” (Anderson, 1983, 6). The imagined community is one that transcends borders not only through the different regions, but also by linking together the idea of borders through the events of 9/11. Throughout the movie, the events that take place are based on the tragedies that have occurred on this date throughout time. The older and more historic scenes depict workers in a community, societies that have regional differences and language barriers, and specific ways of living for the time period. The director makes this the imagined community for those that are a part of the film. However, the historical scenes in different regions of the world then lead into a narrative that is in the present moment and which is able to connect together the boundaries, instead of separating them. The thematic material of the imagined, as presented by the director, is not only important in describing the link between the boundaries through different cultures and times. This is also done specifically to speak to the American audience about the realities of different areas of the world in times of war and with political change. The theme of 9/11 is the main transnational identity. This is linked specifically to the imagined perception of Americans on the bombing of the two towers on 9/11 and the reactions to them. Many have debated that the consumerist society that doesn’t admit to the problems surrounding them has not been able to understand the impact and reality that is a part of this. The director uses not only present events, but also tie this into the realities of other worlds that have experienced the same traumas. This is done specifically to understand the reality of not only this specific situation, but also how the symbiotic effect is one that affects all nations and regions of the world. The attitude that the director presents is one that shows that the trauma that happened is one that has no borders and which has moved into various countries throughout time, specifically with the same components of destruction and tragedy that were experienced through 9 / 11 (Zizek, 2001, http://web.mit.edu/cms/reconstructions/interpretations/desertreal.html). The perception of destruction and reality that the director presents then moves into a different angle to the idea of 9/11. One of the particular problems that occurred with 9/11 was based on the presentation of material through the media. This became a spectacle which was broadcasted several times a day and which led the nation into a sense of fear. This is one that continued to be replayed through Hollywood films, specifically to create an imagined description about the events of 9/11 during this time. This was done to create a social memory of what was occurring and to create a specific response from society with the presentation of this film (Kellner, 2005, 3). While the representation of Hollywood as well as the aftermath of 9/11 was portrayed in this way, the short films of 9/11 take a different perspective to what occurred during this time. The director has no footage of the events that occurred on 9/11. Instead, there are historical events that occurred in other areas of the world that were just as tragic. The director uses the idea of transnational identity to the advantage, specifically to show how the concepts of symbolic targets, political representations for freedom and attacks on society is one that is not an American problem. More specifically, the director chose events that were as traumatic as this situation, specifically to communicate how the ideas of war and attack are an international problem that holds no boundaries. This is done to change the social memory that was ingrained by the media after 9/11 and to show a different perspective to what occurred. To create the idea of social memory within this film, the director uses specific techniques. This is first done by showing the several clips that are related to the historical identity of reality. The viewpoint of the camera is one that interchanges the focus from individuals to the overall historical moments occurring. These clips are shown in black and white to communicate that they are historical moments that link directly to the history of the 9/11 events in the United States. This is combined with angles taken in the current moment by the narration and through the short clips. This brings the viewer back to the present moment and shows a reflection. This is done in color and from a perspective that is from a side angle, specifically to show the idea of reflection when thinking about the events of 9/11. Showing these two juxtaposed angles throughout each of the films is then able to provide a different relationship to the events of 9/11 with a subtle statement of presenting information from a different angle. This furthers the social memory of individuals by broadening the historical and cultural associations with the events that occurred. Another element that is used through the short films to relay the same presentation of imagination and reality is based on the individual expressions that are a part of each film. One of the realities that were perceived after 9/11 was based on the individual experiences of those who had lost loved ones. This became a central focus as the events of the time frame unfolded for those that were involved with this specific concept. This particular approach was used to show a historic trauma related to the time frame, as well as what occurred. This was not only done for the recounting of the trauma that occurred, but was also based on the intent of political leaders moving into a different region to stop terrorist attacks from occurring (Rich, 2004, 109). The director uses this same tactic in the 9/11 films to show how there were several other traumas and individuals that suffered from other types of political attacks in the area. The director doesn’t focus on the events that gained international recognition, but instead have been overlooked. This is combined with the narratives to show how there are several individual stories that have lived through the trauma of various events. Doing this is then able to portray the same concept that occurred with the perception of the events after 9/11. At the same time, there is the ability to tie in a personal relationship to historical events that have this same trauma. Many of the events portrayed represent the grief of loss that occurs; however, this is not set in a historical context of one moment or event or from one political trauma. The individuals that are able to tell this story are then able to create a perception of the human element of grief, which moves beyond the imaginary perceptions of what occurred and into the universal understanding of what is happening. The individuals that are represented in the film, as well as the approach to the stories that transcend from time and link to 9/11 are done not only to show the human element of grief and sorrow. This is also done to portray the identities of others across the globe and how it relates to the same human elements and concepts used. While, in some instances, individuals become individualistic or exclusive, the 9/11 short films are designed to overcome this form of identity. “Through positioning an identity dimension of citizenship as a process of interpellation, I want to emphasize how certain individuals and communities are positioned as objects of exclusion… As the individual is hailed in this manner and recognizes the hail, he or she is transformed into a subject of ideology – here, the subject of nationalist ideology that patrols borders through exclusions” (Dudziak, 2003, 157). The concept of using national ideology through exclusion is one that was done soon after 9/11, specifically by identifying terrorists as Middle Eastern and Arab. This instantly led into an individualistic identity that was imaginary and created a sense of border through the events of 9/11. While the mainstream media created this identity, the direction of the short films of 9/11 worked to move beyond these boundaries. In each of the films, there is an identity that is spoken first, specifically with showing where one individual is from. The events that are followed are non – American in nature, even though they relate to the ideas of 9/11. The director succeeds in taking the exclusive identities and definitions and moving them into one that is an international identity. Showing different ethnicities and backgrounds in each of the films, combined with the ability to present the information in a way that is outside of the United States boundaries, then provides the director with the ability to overcome ideas of exclusivity and to cut down the borders that are related to the traumas of the events of 9/11. Conclusion The different concepts that are related to the idea of transnational identity are designed to cross over borders to present a different set of theories. In the 9/11 films, the director uses a presentation of different identities and perceptions of reality to create a broader perspective of the events of 9/11. Instead of focusing on the American tragedy, the author ties in a global tragedy that is not only related to the problems currently seen in politics. Instead, there is an understanding of the human element of suffering and loss and how this relates to the historical traumas that have occurred in several different regions throughout time, all which share the same date of 9/11. References 1. Anderson, Benedict. 1983. Imagined Communities: Reflections on the Origin and Spread of Nationalism. (UK: Verso). 2. Dudziak, Mary L. (ed.). 2003. September 11 in History: A Watershed Moment? (London: Duke). 3. Ezra, Elizabeth, Terry Rowden. 2006. Transnational Cinema: The Film Reader. (New York: Routledge). 4. Kellner, Douglas. 2005. ‘Social Memory and the Representation of 9/11 in Contemporary Hollywood Film’, Spiel 24. Available online at: http://www.gseis.ucla.edu/faculty/kellner/essays/2008_Kellner_SocialMemory911filmart17.pdf 5. Rich, B. Ruby. 2004. ‘After the Fall: Cinema Studies Post-9/11’, Cinema Journal 43, No. 2, Winter: 109-115. 6. Zizek, Slavoj. 2001. ‘Welcome to the Desert of the Real’, Reconstructions, 15th September. Available online at: http://web.mit.edu/cms/reconstructions/interpretations/desertreal.html Read More