By Marc Cesarini, Alice Alfonsi
Final season, CIA agent Jack Bauer, performed by way of Golden Globe award-winning actor Keifer Sutherland, had us glued to our TVs and cursing the time clock as he exposed a plot to assassinate presidential nominee, David Palmer. With simply 24 hours to spot the killer, Bauer additionally needed to take care of the abduction of his spouse and daughter and the lifestyles of a mole on the agency.
This season he's at it back, supporting President David Palmer store la from nuclear ravage.
Lest you're thinking that Jack had a few down time among life-altering reports, try out 24: the home detailed Subcommittees Findings at CTU. It's a brand new publication delivering a riveting account of Jack's grueling visual appeal sooner than our government's such a lot inquiring minds in the course of their probe into alleged wrongdoings at CTU that first fateful 24 hour interval. The testimony from those closed hearings was once leaked to investigative journalist Marc Cerasini, who then ran with it to writer HarperCollins.
With a few of the best reporting obvious seeing that Woodward's assurance of the Pentagon Papers, this e-book contains:
- Jack Bauer's entire Grand Jury Testimony
- Press statements from President-elect David Palmer
- Transcribed debriefings with different key CTU agents
- formerly sealed documents on Bauer's comparable undercover activities
- The arrest, detainment and shipping documents for Victor Drazen
- Teri Bauer's scientific records
- post-mortem reports
- crusade finance records
- remark from the Beltway's so much celebrated political pundits
- Theories as to how and why key avid gamers inside of CTU became.
Read or Download 24: The House Special Subcommittee's Findings at CTU PDF
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Extra resources for 24: The House Special Subcommittee's Findings at CTU
Telotte Before science fiction television (SFTV) could come into being, the medium itself had to be created (both physically and imaginatively), find an audience, and establish its own identity. This historical emergence corresponds most obviously to a series of key developments that made television both a technical possibility and a potential component of the domestic environment. However, it also involves a cultural context that enabled those developments, inflected television’s early reception, and produced an incubation space for SFTV.
I want to examine that early conceptualization as it took shape in another component of the larger “vision machine,” our popular science fiction films. a. —Tidal Wave (1939)—we can better understand both these varied perceptions and the context that was being created for the later introduction of regular broadcast television. In isolating this point at which one type of fantasy glimpses another’s arrival, we see reflected not only what Cecelia Tichi, in her study of technology in the era, describes as “the alternating attitudes” and mixed responses “of people whose culture is in rapid transition” (Shifting 29) but also signs of a deep-seated cultural resistance to the work of that emerging vision machine, and particularly to its impact on our sense of public and private space.
The latter essentially reimagines human history, taking its fifty thousand survivors of a Cylon attack on an Odyssey-like journey through the universe in search of the lost human colony of Earth. In visual style, narrative execution, and ideas, these two series outdistance much narrative television today, even as both excel at doing what has always worked best in the medium—introducing and developing complex characters, in this case, many of them aliens. Although Stargate SG-1 and Farscape are to some extent less ambitious series, both also find ways of taking audiences where they have not gone before.
24: The House Special Subcommittee's Findings at CTU by Marc Cesarini, Alice Alfonsi