Race against time: “9/11: One Day in America” and the amnesia of America’s archive

I engage in a discourse analysis of National Geographic’s docuseries “9/11: One Day in America” to argue that the series’ multi-layered effort at commemoration, geared as a long-awaited “full” telling of the 9/11 story, but committed to honoring a specific group of victims and survivors, is enabled by a disorienting temporality that raises questions about the role of national memorials and archives at this moment. Temporality is essential to the development of narrative, and with narrative a central element in the making of memory worlds, temporality cannot be underestimated as a key factor in how memories take shape. “One Day” depends on structural instantiations of time to develop its narrative as authentic memory, reflecting a paradoxical linear yet circular pattern that simultaneously authenticates and undermines the veracity of the story it tells. “One Day” transports viewers into lower Manhattan and through the events of 9/11 via a vividly illustrated timeline. But while a linear version of time in “One Day” supports the telling of survivor stories and the memorialization of the dead, the overarching effect of the timeline for viewers is circular, transporting viewers back in time to 2001 and a state of fear and confusion, forcing collective memory to exist in a repetitive temporality that excuses a turn away from history and consequences. The resulting circular mechanism for commemoration allows cultural institutions, like the ones represented in “One Day,” to emphasize the past at the expense of more critical understandings of both history and the future.