Based on the stories of wars, master pieces with cinematic excellence were produced time and again. However, most of the war films echoed a sense of a pride and chivalry; while others, focused on the feeling of nationalism being tittered time after time. Nevertheless, it is also true that the violent and horrifying aspects of war were also being projected through the film produced during and after the First and Second World Wars. After the gloomy and dark clouds of the world wars were removed from the skyline of America, a new chapter in the history of violence started pervading the ambience. The most striking event which Americans, in particular and the world witnessed was the 9/11 attack on America. The initial reaction of the 9/11 attacks on the minds and hearts of the eye witnesses and the people who were indirectly associated with the event was so awful that people were left mum and out-of-words. However, at the same time, it was also very evident that the war-wounds in the minds of Americans evolved out most spontaneously through its popular culture and consequentially, cinema became the most potent matrix upon which the foundation stone of anti-terrorism discourse was laid. THESIS STATEMENT Violence opened a new avenue in the post traumatic situation and aftermath of 9/11 attacks in cinemas. With the increasing grudge against particular races and ethnicity, the torture to trace down the actual culprit behind the national disaster almost took a rage. This post-traumatic situation got seminal space within the work of the cinema directors during the post 9/11 attacks in the American society. The essay therefore intends to delineate and form a discourse upon the issue of incorporation and presentation of violence in the form of torture in the American cinemas, keeping ‘Zero Dark Thirty’ at the centre of the paper. ZERO DARK THIRTY: A PROJECTION OF VIOLENCE UNDER A NEW LIGHT During the post 9/11 aftermath, cinematic perspectives related with horror and foreboding of the mishaps took dual dimensions or discourses. The first dimension was set on an account that the shock and trauma, which the eye-witnesses of 9/11 attacks viewed, was not less than a Hollywood thriller itself. The major contention of the posthumous phase of the incident was regarding a dilemma that whether Hollywood should, at all, attempt at making a cinema that would firstly match the crudity of the real incident of 9/11. And if, the directors are successful in matching the expectations of the audiences with that of the real thrill, whether the audiences would reciprocate to such kind of a presentation wholeheartedly and spontaneously. The reason behind such dilemma was natural and evident as the scar of the 9/11 attacks on America was deep-rooted in the minds of the people, to remain un-faded forever. The second school of thought or the discourse related to post 9/11 attacks on America started emerging as soon as the traumatic situation of the 9/11 attacks began effacing. Hence, a new perspective of violence started emerging in the Media and Television industry of America and as a result, the post 9/11 torture inflicted to trace down the conspirer of the 9/11 attacks suddenly became a staple theme for Media. The US television started broadcasting a series of daily soaps and dramas that pondered upon the presentation of torture. The effect of such presentation on national media was so stark that exciting video games captivating elaborate and proliferated scenes of torture started making comfortable space in the US market. This was the exact moment when Hollywood was able to perceive the mindsets of the audiences and began to make films on post 9/11 tortures inflicted by various internal security agencies upon the suspicious persons.