Michael Frank – författare

This study investigates the overlaps between political discourse and literary and cinematic fiction, arguing that both are informed by, and contribute to, the cultural imaginary of terrorism. Whenever mass-mediated acts of terrorism occur, they tend to trigger a proliferation of threat scenarios not only in the realm of literature and film but also in the statements of policymakers, security experts, and journalists. In the process, the discursive boundary between the factual and the speculative can become difficult to discern. To elucidate this phenomenon, this book proposes that terror is a halfway house between the real and the imaginary. For what characterizes terrorism is less the single act of violence than it is the fact that this act is perceived to be the beginning, or part, of a potential series, and that further acts are expected to occur. As turn-of-the-century writers such as Stevenson and Conrad were the first to point out, this gives terror a fantastical dimension, a fact reinforced by the clandestine nature of both terrorist and counter-terrorist operations. Supported by contextual readings of selected texts and films from The Dynamiter and The Secret Agent through late-Victorian science fiction to post-9/11 novels and cinema, this study explores the complex interplay between actual incidents of political violence, the surrounding discourse, and fictional engagement with the issue to show how terrorism becomes an object of fantasy. Drawing on research from a variety of disciplines, The Cultural Imaginary of Terrorism will be a valuable resource for those with interests in the areas of Literature and Film, Terrorism Studies, Peace and Conflict Studies, Trauma Studies, and Cultural Studies.

This study investigates the overlaps between political discourse and literary and cinematic fiction, arguing that both are informed by, and contribute to, the cultural imaginary of terrorism. Whenever mass-mediated acts of terrorism occur, they tend to trigger a proliferation of threat scenarios not only in the realm of literature and film but also in the statements of policymakers, security experts, and journalists. In the process, the discursive boundary between the factual and the speculative can become difficult to discern. To elucidate this phenomenon, this book proposes that terror is a halfway house between the real and the imaginary. For what characterizes terrorism is less the single act of violence than it is the fact that this act is perceived to be the beginning, or part, of a potential series, and that further acts are expected to occur. As turn-of-the-century writers such as Stevenson and Conrad were the first to point out, this gives terror a fantastical dimension, a fact reinforced by the clandestine nature of both terrorist and counter-terrorist operations. Supported by contextual readings of selected texts and films from The Dynamiter and The Secret Agent through late-Victorian science fiction to post-9/11 novels and cinema, this study explores the complex interplay between actual incidents of political violence, the surrounding discourse, and fictional engagement with the issue to show how terrorism becomes an object of fantasy. Drawing on research from a variety of disciplines, The Cultural Imaginary of Terrorism will be a valuable resource for those with interests in the areas of Literature and Film, Terrorism Studies, Peace and Conflict Studies, Trauma Studies, and Cultural Studies.

This program is read by the author. A psychologically acute memoir about an unusual Hollywood family by Michael Frank, who "brings Proustian acuity and razor-sharp prose to family dramas as primal, and eccentrically insular, as they come" (The Atlantic)“My feeling for Mike is something out of the ordi - nary,” Michael Frank overhears his aunt telling his mother when he is a boy of eight. “It’s stronger than I am. I cannot explain it . . . I love him beyond life itself.” With this indelible bit of eavesdropping, we fall into the spellbinding world of The Mighty Franks. The family is uncommonly close: Michael’s childless Auntie Hankie and Uncle Irving, glamorous Hollywood screenwriters, are doubly related— Hankie is his father’s sister, and Irving is his mother’s brother. The two families live near each other in Laurel Canyon. In this strangely intertwined world, even the author’s grandmothers—who dislike each other—share a nearby apartment. Strangest of all is the way Auntie Hankie, with her extravagant personality, comes to bend the wider family to her will. Talented, mercurial, and lavish with her love, she divides Michael from his parents and his two younger brothers as she takes charge of his education, guiding him to the right books to read (Proust, not Zola), the right painters to admire (Matisse, not Pollock), the right architectural styles to embrace (period, not modern—or mo-derne, as she pronounces the word, with palpable disdain). She trains his mind and his eye—until that eye begins to see on its own. When this “son” Hankie longs for grows up and begins to turn away from her, her moods darken, and a series of shattering scenes compel Michael to reconstruct both himself and his family narrative as he tries to reconcile the woman he once adored with the troubled figure he discovers her to be. In its portrayal of this fascinating, singularly polarizing figure, the boy in her thrall, and the man that boy becomes, The Mighty Franks will speak to any listener who has ever struggled to find an independent voice amid the turbulence of family life.