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This chapter focuses on the central figure in Anthony Asquith's fugitive film A Cottage on Dartmoor: the ‘running man’ in talking pictures. Today we would find this fugitive figure in The Bourne Ultimatum (2007), a film most would think American, but is in part British, made with a partly British crew and a Surrey-born director, Paul Greengrass. The Running Man is also the title of Carol Reed's 1963 feature whose fugitive hero is disappearing conman Laurence Harvey in a film most would rate as one of Reed's weaker films, a pallid echo of The Third Man (1948). It is a term Raymond Durgnat appropriated for his study of fugitive films in A Mirror for England. Both The Bourne Ultimatum and Alfred Hitchcock's Number Seventeen are studies in non-identity with Macguffins to match. Two key films before Hitchcock's shorts were popular dramas of internal treachery: Alberto Cavalcanti's Went the Day Well? (1942) and Thorold Dickinson's The Next of Kin (1942). Hitchcock's four other fugitive films are Bon Voyage, Aventure malgache, Stage Fright and Frenzy.

This chapter examines the cultural narratives of four films that have been made about United Airlines Flight 93: Flight 93, United 93, The Flight That Fought Back, and Portrait of Courage: The Untold Story of Flight 93. All four films were produced by different groups of people with varying authorial and commercial interests and goals, but they have one thing in common: each attempts to tell viewers the truth about the events that took place on Flight 93's final voyage. Peter Markles, the director of Flight 93, characterized his artistic goal as the production of “something that spoke the truth.” Paul Greengrass, who directed United 93, exudes a similar confidence about the veracity of his film's perspective. The Flight That Fought Back, directed by Bruce Goodison and narrated by Kiefer Sutherland, features interview footage with family members of Flight 93 passengers and crew and various other sources. Portrait of Courage is based in part on Deena Burnett's Fighting Back, which presents a decidedly culturally conservative vision of the meaning of 9/11.

David Bordwell calls the new post-classical cinematic mode “intensified continuity.” Stylistic markers include prowling cameras, constant reframing, and rapid-fire editing. While many scholars have described the visual dimension of this style, they have said little about the soundtracks. This chapter shows how music and sound help structure this new prismatic cinema. These films showcase a variety of musical styles, often mingling American pop and traditional Hollywood scoring with other, more distant musical practices. They may also include heightened sequences in which lighting, dialogue, gesture, music, and sound effects work “musically.” Audiovisual aesthetics may also support large-scale structures. Films like The Bourne Supremacy and Day Watch possess multiple strands and place the viewer “too close” to characters who do not fully comprehend their predicaments. In the musical interludes, the music reflects the characters’ psyches but also provides a bird’s-eye view that works to provide large-scale form for highly kaleidoscopic material.