Abstract
On the morning of September 11, 2001, the world was startled by the televised images of planes hitting New York City’s World Trade Center. As those images, and the images and sounds of the subsequent collapse of the two towers, played over and over again that day, shock and disbelief were replaced by the sense on the part of many that the world had changed irrevocably.
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Notes
Cathy Caruth, “Introduction,” in Cathy Caruth, ed., Trauma: Explorations in Memory (Baltimore: The Johns Hopkins Univ. Press, 1995), 6–7.
Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford Univ. Press, 2009).
Jan Assmann, “Communicative and Cultural Memory,” in Astrid Erll and Ansgar Nünning, A Companion to Cultural Memory Studies (Berlin: De Gruyter, 2010), 113.
Aleida Assmann, “Memory, Individual and Collective,” in Robert E. Goodin and Charles Tilly, The Oxford Handbook of Contextual Political Analysis (Oxford: Oxford Univ. Press, 2006), 221.
Anne Michaels, “Miner’s Pond,” in The Weight of Oranges/Miner’s Pond (Toronto: McLelland and Stewart, 1991), 59.
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© 2015 Inez Kathleen Hedges
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Hedges, I. (2015). Conclusion. In: World Cinema and Cultural Memory. Palgrave Macmillan Memory Studies. Palgrave Macmillan, London. https://doi.org/10.1057/9781137465122_10
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DOI: https://doi.org/10.1057/9781137465122_10
Publisher Name: Palgrave Macmillan, London
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