By the afternoon of September 11, entertainment executives were rushing to remove media products containing ‘inappropriate’ references from American television and movie screens. While references to terrorism were the starting point, their caution extended to themes of war and threats against America, all in the name of ‘public sensitivity’ and ‘respect for the victims’. Simultaneously, uninterrupted news coverage was brimming with scenes of devastation and heartbreak. What makes fiction inappropriate when the equivalent fact is not? Can fiction help the viewer process fact, and if so, should it?
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281 – 287
DOI
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Issues
Also in this issue:
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Ryan Jenkins, David Černý and Tomáš Hříbek (eds) Autonomous Vehicle Ethics: The Trolley Problem and Beyond
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As open as possible, but as closed as necessary: openness in innovation policy
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Turning sportswashing against sportswashers: an unconventional perspective
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State secrets and compromises with capitalism: Lev Theremin and regimes of intellectual property
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In search of an author