Here is a sharp, smart, easy-to-read book by authors who have done their homework. A volume on the lasting effect of 9/11 on American cinema has been necessary for some time, and Bloodsworth-Lugo and Lugo-Lugo go a long way toward filling that gap. They offer penetrating discussions of such films as Neil Jordan's The Brave One (a 21st-century version of Michael Winner's Death Wish, 1974), Alfonso Cuar?n's dystopian fantasy Children of Men, Stephen Daldry's Extremely Loud and Incredibly Close, Kathryn Bigelow's Iraq War film The Hurt Locker, and other pertinent titles. Projecting 9/11 is remarkable because it is at once accessible and densely theoretical, and thus is appropriate for a broad audience. It would be an excellent resource for a class on post-9/11 American cinemasuggesting, too, that all Hollywood cinema since 9/11 has been affected by the tragedy of the Twin Towers in one way or anotherand the authors have taken pains to do the necessary research to make the volume authoritative. This volume is that rare thing: a scholarly work that is also a page-turner. . . .Summing Up: Highly recommended. All readers.Projecting 9/11 makes the provocative argument that the cultural rationalizations of the September 11th terrorist attacks have had such a profound impact on the collective consciousness that they now constitute the primary perspective used by the majority of Americans to understand the world. This thesis is supported through a powerful analysis of the portrayal of race, sexuality, gender, and citizenship in post 9/11 popular films. All Americans should read this book.The September 11, 2001 terrorist attacks were a generations Where were you when&? moment.? While the events of that day may not feature as prominently in mainstream news cycles as they once did, this book reminds us that the tragedy and its aftermath continue to reverberate in media and other public arenas.? Projecting 9/11 directs our attention to Hollywood films released since the attacl3æ