Terrorism, the Mass Media, and the Events of 9-11

By Nacos, Brigitte L. | Phi Kappa Phi Forum, Spring 2002 | Go to article overview

Terrorism, the Mass Media, and the Events of 9-11


Nacos, Brigitte L., Phi Kappa Phi Forum


As millions of Americans watched the terror of 9-11 live on television or the Internet, most were already familiar with the shocking images: the inferno in a skyscraper, the terrorists attacking a towering high-rise, the total destruction of a federal building in Washington, the nuclear winter cityscapes in America, Manhattan under siege after a terrorist attack. In search of box-office hits, Hollywood had already produced for many years a steady stream of disaster movies and thrillers, often based on best-selling novels, which used just such images.

In a popular culture inundated with images of violence, the horror of the quadruple hijack coup was as real as in the movie, but it was surreal in life. Novelist John Updike, who witnessed the calamity from a tenth-floor apartment in Brooklyn, felt that "as on television, this was not quite real, it could be fixed; the technocracy the towers symbolized would find a way to put out the fire and reverse the damage."

The greatest irony was that the very terrorists who loathe America's pop culture as decadent and poisonous to their own beliefs and ways of life turned Hollywood-like horror fantasies into real-life hell. In that respect they outperformed Hollywood, the very symbol of their hate for American-led western entertainment. After visiting the World Trade Center disaster site for the first time, New York's Governor George Pataki said: "It's just incomprehensible to see what it was like down there. You know, I remember seeing one of these Cold War movies and after the nuclear attacks with the Hollywood portrayal of a nuclear winter. It looked worse than that in downtown Manhattan; and it wasn't some grade "B" movie. It was life. It was real."

TERRORISTS AND PUBLICITY

From the terrorists' point of view, the attack on America was a perfectly choreographed production aimed at American and international audiences. In the past, terrorism has often been compared to theater. While the theater metaphor remains instructive, it has given way to that of terrorism as television spectacular, as breaking news that is watched by record audiences and transcends by far the boundaries of theatrical events.

From the perspective of those who produced this unprecedented terrorism-as-breaking-news horror show, this action was as successful as it can get. Whether it is the relatively inconsequential arson by an amateurish environmental group or mass destruction by a network of professional terrorists, the perpetrators' media-related goals are the same: attention, recognition, and perhaps even a degree of respectability and legitimacy in their various target publics.

It has been argued that contemporary religious terrorists, unlike secular terrorists, such as the Marxists of the Red Brigade/Red Army variety or the nationalists of the Palestinian Liberation Front brand during the last decades of the Cold War, want nothing more than to lash out at the enemy and express their rage. But while these sentiments may well figure into the complex motives of group leaders and their followers, their deeds are planned and executed with the mass media and their effects on the masses and government decision-makers in mind.

To be sure, publicity via the mass media is not an end in itself. Most terrorists have very specific short-term and/or long-term goals. It is not hard to figure the short-term and long-term objectives of those who planned the suicide missions against the United States. Even without the benefit of a credible claim of responsibility, the mass media, decisionmakers, and the public in the United States and abroad have discussed the most likely motives for the unprecedented deeds. In the short term, the architects and perpetrators wanted to demonstrate the weakness of the world's only remaining superpower vis-a-vis determined terrorists, frighten the American public, and fuel perhaps a weakening of civil liberties and in the process foment domestic unrest. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Terrorism, the Mass Media, and the Events of 9-11
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.