Although documentary evidence is more concrete and objective than memory, it is devoid of personal experience. So personal history, while more subjective, is also more inclusive of its effects on the individual. This symbiosis is evident in the website, September 11: Bearing Witness to History, the Smithsonian Museum, is considered “America's national educational facility,” placing value on facts and evidence. To the contrary, it is also an American institution that values ​​the ideas and beliefs that guide its country. Therefore, their depiction of this defining moment is subjective but crucial to Americans and others affected by this act of terror. In the short film 11'09'01 September 11, Samira Makhmalbaf presents a perspective on the events, setting her film in a refugee camp for Afghan refugees in Iran. Iran was recently named part of the "Axis of Evil" by George Bush, which in the film is called into question by the interactions between the children and their teachers. Together, both documentary evidence and personal history produce an emotional and often unanticipated awareness of the facts, as evident on the Smithsonian website, a digital memorial that includes a collection of objects related to the events of 9/11 and the combined American experience . The collection contains a selection of photographs including “World Trade Center Aluminium” which is contextualised in the images, “The tallest building in the world… gleaming exterior… golden shine”. This contextualization heightens the significance of the towers and projects the World Trade Center into the realm of myth through its extraordinary description. The curator's comment "it was torn and folded like wrapping paper" uses the simile to evoke a sense of fragility and vulnerability... in the middle of the paper... she maintains her position as the one who must educate children about the events using the fireplace. The combination of high and low shots reveals the vulnerability and helplessness of the children with the dominance of the tower symbolizing the World Trade Centers. Then an overhead shot includes the children with the tower, enhanced by the non-diegetic chanting of Islamic prayer, a fitting memorial to those who died in the attacks. The viewer is in a position to consider the perspective of the marginalized with the emotions emphasized in the website. Consequently, objective documentary evidence is more real than personal history. However, the reality of personal suffering is missing. Memory, while more subjective, is also more inclusive. This symbiotic relationship is evident in 9/11: Witnessing History and 11'09'01 September 11.