While documentaries like PBS's Frontline (1983-) series (through titles such as "Faith and Doubt at Ground Zero" (Helen Whitney Productions, 2002), "The Falling Man" (Darlow Smithson Productions, 2006), and "The Dark Side" (2006)) and HBO's Brothers Lost: Stories of 9/11 (2007) offered a thoughtful examination of the moral, psychological, and political reverberations of the attacks, television fiction was often more bellicose, even jingoistic, fighting America's new "long war" in its own way. Such retrenchment in American collective memory is helped, even eight years on, by the endless televisual replaying of the iconic images of the attacks: the footage of the second airliner slamming into the south tower of the World Trade Center, the smoke billowing from both buildings in the moments after the attack, the falling bodies of those jumping from the upper floors.
Kennedy or Martin Luther King assassinations, the first lunar landing, or the attack on Pearl Harbor. For many Americans, September 11th is a watershed moment, equivalent in their memories to the John F. It has by now become commonplace to hear the terrorist attacks of September 11th, 2001 referred to as events that "changed the world." Even if one denies that the world itself underwent a fundamental paradigm shift on that autumn morning, the profound effects that the attacks-and the subsequent American "War on Terror"-have had on global politics, economics, language, and culture are irrefutable.
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