Between 2 November and 1 December 2001, The New York Times reproduced five Norman Rockwell paintings, which had been digitally manipulated to evoke ‘September 11’ and its aftermath. These full-page adverts for the newspaper were signifiers of revisionist cultural values, selective sentiment, familial security, and particular visions of the nation-state. This article explores the images as: expressions of mourning, trauma and the new patriotism; an ideological narrative within media manufacture of consent; contributions to dominant versions of collective memory and politicized memorials of the present.
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