Capturing The South

"In his expansive history of documentary work in the South during the twentieth-century, Scott L. Matthews examines the motivations and methodologies of several pivotal documentarians, including sociologist Howard Odum, photographers Jack Delano and Danny Lyon, and music ethnographer John Cohen. Their work salvaged and celebrated folk cultures threatened by modernization or strived to reveal and reform problems linked to [the] region's racial caste system and exploitative agricultural economy"--

In his expansive history of documentary work in the South during the twentieth century, Scott L. Matthews examines the motivations and methodologies of several pivotal documentarians, including sociologist Howard Odum, photographers Jack Delano and Danny Lyon, and music ethnographer John Cohen. Their work salvaged and celebrated folk cultures threatened by modernization or strived to reveal and reform problems linked to the region's racial caste system and exploitative agricultural economy. Images of alluring primitivism and troubling pathology often blurred together, neutralizing the aims of documentary work carried out in the name of reform during the Progressive era, New Deal, and civil rights movement. Black and white southerners in turn often resisted documentarians' attempts to turn their private lives into public symbols. The accumulation of these influential and, occasionally, controversial documentary images created an enduring, complex, and sometimes self-defeating mythology about the South that persists into the twenty-first century.

The Voice of America (VOA) is the oldest and largest U.S. government-funded international media organization. In 2020, Donald Trump nominated Michael Pack, a right-wing documentarian and close friend of Steve Bannon, to lead the organization and curb what Trump saw as the network's overly negative reporting on the U.S. During the seven months that Pack oversaw the agency, more than 30 whistleblowers filed complaints against him, a judge ruled that he had infringed journalists' constitutional right to freedom of speech, and he refused to respond to a subpoena issued by the Senate Committee on Foreign Relations. How did such a major international public service media network become intensely politicized by government allies in such a short time, despite having its editorial independence protected by law? What were the effects on news output? And what can we learn from this situation about how to protect media freedom in the future? Capturing News, Capturing Democracy puts these events in historical and international context--and develops a new analytical framework for understanding government capture and its connection to broader processes of democratic backsliding. Drawing from in-depth interviews with network managers and journalists, and analysis of private correspondence and internal documents, Wright, Scott, and Bunce analyze how political appointees, White House officials, and right-wing media influenced VOA changing its reporting of the Black Lives Matter movement, the presidential election, and its contested aftermath. The authors stress that leaving the VOA unprotected opens it and other public media to targeting by authoritarian leadership and poses serious risks to US democracy. Further, they offer practical recommendations for how to protect the network and other international public service media better in the future.

The first book of its kind to discuss the rock art of cultural groups other than the San. It gives the rock art of South Africa a wider context and greater depth than has a hitherto been apparent.

In August 1917, the Canadian Corps captured Hill 70, vital terrain just north of the French town of Lens. The Canadians suffered some 5,400 casualties and in three harrowing days defeated twenty-one German counterattacks. This spectacularly successful but shockingly costly battle was as innovative as Vimy, yet few Canadians have heard of it or of subsequent attempts to capture Lens, which resulted in nearly 3,300 more casualties. Capturing Hill 70 marks the centenary of this triumph by dissecting different facets of the battle, from planning and conducting operations to long-term repercussions and commemoration. It reinstates Hill 70 to its rightful place among the pantheon of battles that forged the reputation of the famed Canadian Corps during the First World War.

While the myth of Soviet benevolence has now largely been discredited, the idea that Stalin’s Soviet Union was a peaceful power that sought to prevent the war through all kinds of means – including an ill-fated non-aggression treaty with Hitler – remains popular to this day. Indeed, this narrative is not only promoted by Putin's propaganda but also by a host of Western intellectuals and even historians who take public declarations at face value. Drawing on a host of internal Soviet Politburo discussions, memoranda and speeches, this book shows that the Soviet Union was a heavily militarized state that incessantly planned to unleash a great, ideologically motivated war against the rest of the world. In fact, its entire political life revolved around the question of war, especially following the onset of the Great Depression in 1929, which convinced Soviet leaders of the imminent collapse of the capitalist system abroad. Thus, both the collectivization as well as the terror that followed in its wake were done with the coming war in mind – even though there was no tangible danger of war. Slowed down by countless devastating setbacks, Stalin was nevertheless able to amass a gigantic army by the late 1930s. When Hitler approached Stalin in 1939 asking for Soviet neutrality in his planned invasion of Poland, Stalin sensed a golden opportunity: by supporting Hitler, he could turn the European powers against each another, allowing him to intervene once they were sufficiently weakened. However, Stalin miscalculated: Hitler beat both Poland and France in less than a year and then turned against Moscow in 1941, long before Stalin was ready for his own attack.