Abstract
ABSTRACT This paper re-asserts the politically contested status of new media as a site of both conspiracy theories and counterhegemonic narratives through analyses of Dylan Avery’s Loose Change and Adam Curtis’ The Power of Nightmares. I outline how Loose Change’s form reflects its origins in online research, and how the web’s structures influence the film’s conspiracy theory narrative. This is compared to the production and distribution of The Power of Nightmares. The juxtaposition of images and ideas (the ‘and then … ’) provides an example of the web’s formal influence. Exploring Curtis’ use of the BBC archive, barriers to distributing his counternarrative, and the appropriation of his films through online channels, I inform a discussion of the ways new media provides a crucial resistance to hegemonic narratives. Drawing on Jean Baudrillard’s account of September 11th, I argue that both texts must be understood as dialectical responses to the official narratives around 9/11 and the War on Terror.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
