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At the Pentagon, people were killed, including 64 on American Airlines Flight 77, the airliner that struck the building.
On Flight 93 , 44 people died when the plane crash-landed in Pennsylvania. Bush , who was in Florida at the time of the attacks and had spent the day being shuttled around the country because of security concerns, returned to the White House. These acts shatter steel, but they cannot dent the steel of American resolve. In a reference to the eventual U. Within two months, U. Osama bin Laden, the mastermind behind the September 11th attacks, remained at large until May 2, , when he was finally tracked down and killed by U.
In June , President Barack Obama announced the beginning of large-scale troop withdrawals from Afghanistan. It was signed into law by President George W. Bush on November 25, Today, the Department of Homeland Security is a cabinet responsible for preventing terror attacks, border security, immigrations and customs and disaster relief and prevention. Mohammed led propaganda operations for al Qaeda from In August , a U.
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On the first day of trading after the attacks, the market fell 7. Thousands of first responders and people working and living in lower Manhattan near Ground Zero were exposed to toxic fumes and particles emanating from the towers as they burned and fell. The Victim Compensation Fund was set to stop accepting claims in December The first memorials to September 11 came in the immediate wake of the attacks, with candlelight vigils and flower tributes at U.
For the first anniversary of the attacks in New York City in , two bright columns of light were shot up into the sky from where the Twin Towers once stood. On clear nights, the beams are visible from over 60 miles away. It consists of two reflecting pools with waterfalls rushing down where the Twin Towers once rose into the sky. The names of all 2, victims are engraved on the bronze panels surrounding the pools, arranged by where individuals were on the day of the attacks, so coworkers and people on the same flight are memorialized together.
New York Magazine. September 11th Terror Attacks Fast Facts.
But if you see something that doesn't look right, click here to contact us! Porritt attempts to make his futurism enticing by having his main character, a teacher named Alex McKay, look back from and describe how the world changed over the previous 40 years. The book, published in , stands out for its comprehensiveness: Porritt seems to have investigated trends in almost every imaginable area—not only the climate but also biodiversity, agriculture, finance, law, technology, religion, medicine, and education.
Porritt is extremely optimistic in parts, describing a U. A CO 2 cap-and-trade system is created, reducing GHG emissions and raising money for energy-efficiency projects. A terrible flood in China likewise persuades that country to stop burning coal. All the ridiculous status seeking and ownership fetishism that dominated the second half of the twentieth century has all but disappeared.
In a few places he makes his vision tougher and even pessimistic, in an effort perhaps to leaven the general hopefulness. His future Pakistan, for example, is poor, corrupt, and plagued with floods and drought. And his world uses direct air capture of atmospheric CO 2 to reverse global warming, even though such geoengineering—or large-scale environmental intervention—is extremely unpopular with green activists, who dismiss it as expensive, an energy hog, and unproven.
The book includes a mocked-up photo of a trailer-sized air-filtering device, which pulls CO 2 out of the atmosphere by binding it to sodium hydroxide.
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The CO 2 would ultimately be separated out, pressurized, and stored underground. The book seesaws between this kind of serious, fact-based extrapolation of current trends and bursts of fantastic utopianism. In one chapter Porritt allows himself the indulgence of a response to climate change led by U. Fantasy, Porritt argues, makes the book fun, at least for him. But the book is still a fairly dense read, without much of a novelistic plot, and the more speculative sections weaken the inspirational goal.
Porritt repeatedly depends on deus ex machina crises of various kinds, whether hurricanes or global youth revolts, to bring on the progressive changes he thinks the world needs.
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To give one example, Porritt says that massive adoption of solar power is absolutely necessary to allow us to quit using fossil fuels. But how does that actually happen? It may be possible to create a thrilling story that comprehensively describes a realistic solar adoption scenario, but, well. That actually does not seem possible. No book or film could satisfy the demands of such a project.
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Porritt understands the near impossibility of the task he has taken on. Another basically technocentric vision was crafted by Eric Sanderson, a senior conservation ecologist at the Wildlife Conservation Society. His book Terra Nova is for the most part a history of land use and the energy industry in the United States; it also offers better ways to organize urban development, taxation, transportation, and power production. Higher density provides more tax revenues, which pay for bike lanes, streetcar tracks, and a seaside park with a small forest.
Sanderson and his wife have just retired from their jobs; they hop on a light-rail line that has replaced the Cross Bronx Expressway and take high-speed trains to Chicago and then to San Francisco. From their seats they see greenbelts of forest and prairie, small farms, woodlands and meadows that have replaced industrial agriculture, armies of massive wind turbines surrounded by grazing bison and elk, and deserts filled with solar fields and geothermal plants.
The bell on the streetcar jangles as it passes by. This picturesque interlude soon ends, unfortunately, and the book moves on to vaguer, less satisfying hypotheses about the economy and society. Higher energy costs will make industrial products more expensive and spur local artisanship; carmakers will turn into streetcar manufacturers; as oil wars end, the military will shrink.
At his most compelling, however, Sanderson succeeds in painting a rich, inspiring vision of the future by slowing down and focusing on the details, which seem entirely achievable. A lot of people would like to live in that world. Sanderson said he is motivated by the wish to avoid disaster, like Porritt, and by a love of his country and the world.
But he also writes from a professional mission of improving the environment. At a conservation organization you work not just to do the science but to suggest what a better way might be. His visionary chapter is brief, and unlike Porritt, he focuses almost exclusively on the United States. Although his proposals rest on a mountain of scientific theory, data, and historical experience, the book has curious gaps, failing to address the issues of nuclear power and industrial carbon capture.
For the record Sanderson says he thinks carbon capture may spread, but nuclear power will be doomed by its high environmental costs. And he freely admits the difficulty of escaping the death grip of present-day obstacles. His vision depends on governments adopting ecological use taxes, which hike the cost of less environmentally friendly activities and encourage better ones, such as dense housing and sustainable agriculture. Such assessments, called Pigouvian taxes after the earlyth-century British economist Arthur Pigou, are very popular with ecologists but face considerable political opposition and other barriers to enactment.
Carbon-emissions taxes, which already exist in parts of Canada and some other countries, are a rare real-world example.
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As a result, like Porritt, Sanderson is left waiting for an environmental or political crisis that will leave the nation scrambling for a solution until it happens upon his prescriptions. It all sounds great, but how do you get there from where we are now? Spectators were called upon to reflect on social injustices and the process by which their realities occurred, and to take action to transform their conditions.
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Even though Third Cinema films arose during revolutionary eras in Latin America and other countries, this filmmaking is still influential today. This style of filmmaking includes a radical form of production, distribution and exhibition that seeks to expose the living conditions of people at the grassroots level. Purpose and Goals of Third Cinema Third Cinema seeks to expose the process by which oppression occurs; and to criticize those responsible for social inequality in a country or community.
Some of the goals of Third Cinema are:. Production Due to their political nature, Third Cinema films were often censored and therefore, the production and distribution of these films were innovative. These production elements are combined in an inventive manner to create a message that is specific to its local audience.
The staff in production share all aspects of the production process by working collectively. In Third Cinema, for example, a Director can be the Cameraman, the Photographer or the Writer at different phases of the production. Since Third Cinema films were highly politicized, they often lacked the funding and support needed for production or distribution and instead sought funding outside government agencies or traditional financing opportunities available to commercial films.
Other unique aspects of Third Cinema film production is the use of their local natural landscape for film shootings often in parts of the country not previously seen. This unique feature was augmented by highlighting the local history and culture of its nation. While feminist film movements in the United States in the s critiqued the eurocentric and heteronormative sexism within the First-World, the intersection of heterosexism with racism and imperialism seemed to get little attention from mainstream film journals.
Along with the advancement and availability of technology, and the revolutionary tactics proposed by Third Cinema, third-worldist feminist film-makers began to tell their own stories. Lebanese film director Heiny Srour commented in one interview:. Our societies have been too lacerated and fractured by colonial powers to fit into those neat scenarios.
This is an incomplete list and still does not reflect the number of film-makers that have contributed to Third Cinema. From Wikipedia, the free encyclopedia. New Latin American Cinema vol. Wayne State University Press, Detroit McGraw-Hill, , Fourth Edition ed. Oxford: Wiley-Blackwell. In Gunerante, Anthony R. Rethinking Third Cinema.