War Through The Lens

"War Through the Lens tells the story of the most daring filmmakers in the short history of Canada's motion picture industry, the 50 cameramen who filmed Canadians in battle during World War Two. They belonged to the Canadian Army Film and Photo Unit and often scooped their British and American allies with the first, and in many cases, the most memorable footage of the war's crucial battles in Europe. They produced a legacy of images which continue to shape the depiction of the war today. It is a story of courage, bitterness, friendship, triumphs, and tragedies. The cost of their work was high. Before the guns were stilled, nearly a third of them became casualties with the small unit suffering proportionally among the highest casualty rates in the Canadian Army. This book explores their experience with unique first person accounts combined with rare and dramatic images of Canada at war and the men and women who made those images. Providing both a front line and a behind the scenes view of the war, War Through the Lens provides both compelling personal stories and important insights into how the war was covered and how those continue to shape our perception of Canada and conflict."--

Divided Lenses: Screen Memories of War in East Asia is the first attempt to explore how the tumultuous years between 1931 and 1953 have been recreated and renegotiated in cinema. This period saw traumatic conflicts such as the Sino-Japanese War, the Pacific War, and the Korean War, and pivotal events such as the Rape of Nanjing, Pearl Harbor, the Battle of Iwo Jima, and the bombings of Hiroshima and Nagasaki, all of which left a lasting imprint on East Asia and the world. By bringing together a variety of specialists in the cinemas of East Asia and offering divergent yet complementary perspectives, the book explores how the legacies of war have been reimagined through the lens of film. This turbulent era opened with the Mukden Incident of 1931, which signaled a new page in Japanese militaristic aggression in East Asia, and culminated with the Korean War (1950–1953), a protracted conflict that broke out in the wake of Japan's post–World War II withdrawal from Korea. Divided Lenses explores the ways in which events of the intervening decades have continued to shape politics and popular culture throughout East Asia and the world. The essays in part I examine historical trends at work in various "national" cinemas, including China, Taiwan, Japan, Korea, and the United States. Those in part 2 focus on specific themes present in the cinema portraying this period—such as comfort women in Chinese film, the Nanjing Massacre, or nationalism—and how they have been depicted or renegotiated in contemporary films. Of particular interest are contributions drawing from other forms of screen culture, such as television and video games. Divided Lenses builds on the growing interest in East Asian cinema by examining how these historic conflicts have been imagined, framed, and revisited through the lens of cinema and screen culture. It will interest later generations living in the shadow of these events, as well as students and scholars in the fields of cinema studies, cultural studies, cold war studies, and World War II history.

Philip Vorwald retraces the fields of battle which were once bitterly contested killing grounds in the struggle to halt Hitler’s final gambit in the West. The battle touched dozens of towns and villages throughout the Ardennes and each is depicted through the photographer’s lens in 1944-45 and exactly 50 years later. Philip’s efforts to match precisely the wartime ­photographs with present-day comparisons are remarkable, all the more so because he has striven in many cases to achieve a ‘weather match’. Presented in an easy-to-use alphabetical format, the?precise location where each picture was taken is indicated on accompanying sketch maps, with instructions how to get there, giving this publication a secondary role as an indispensable guide book to historic sites of the Battle of the?Bulge.

In this “gripping and personal view of war” (Andy McNab, author of Bravo Two Zero), a celebrated photographer crafts a powerful memoir about his experiences in some of the world’s most dangerous, war-torn areas—and his terrifying capture by Syrian rebels in 2013. For a decade, Jonathan Alpeyrie—a French‑American photojournalist—had ventured in and out of more than a dozen conflict zones. He photographed civilians being chased out of their homes, military trucks roving over bullet‑torn battlefields, and too many bodies to count. But on April 29, 2013, during his third assignment to Syria, Alpeyrie became the story. For eighty‑one days he was bound, blindfolded, and beaten by Syrian rebels. Over the course of his captivity, Alpeyrie kept his spirits up and strove to find the humanity in his captors. He took part in their activities, taught them how to swim, prayed with them, and tried learning their language and culture. He also discovered a dormant faith within himself, one that strengthened him throughout the ordeal. The Shattered Lens is a firsthand account that “reads like a thriller” (The New York Journal of Books) by a photojournalist who has always answered the next adrenaline‑pumping assignment. Yet, during his headline‑making kidnapping and “for all his suffering, Alpeyrie expresses, in words and color photographs, the compassion of a global citizen seeing beyond his personal terror and into the nuances of human interactions” (Booklist).

This book clarifies Khomeini’s views on nationalism, sectarianism, and peace and war by putting the Iran-Iraq war at center of understanding of Khomeini’s ideology. Moreover, by making comparisons between Khomeini’s thoughts before and after the revolution with his words during the Iran-Iraq war, this book helps us see how his discourse during the conflict was shaped by such thoughts. Also, such a comparison helps us understand the complexities of Khomeini’s doctrines and their evolvements. Additionally, by offering a unique set of methodological tools, this book introduces a new way to study political leaders in Iran and other parts of the Middle East.

The photographs in this book, some nearly 150 years old, chronicle the American people from the last years of slavery & the Civil War to the present.

This set of essays by twenty-seven historians of the Civil War describes a wide array of the war's photographs, examining them in unfamiliar ways.

“Not only does Huffman bring Tim back to life . . . but he also leads us through some of the most harrowing combat of our generation” (Sebastian Junger, New York Times–bestselling author of Tribe). Tim Hetherington (1970–2011) was one of the world’s most distinguished and dedicated photojournalists, whose career was tragically cut short when he died in a mortar blast while covering the Libyan Civil War. Someone far less interested in professional glory than revealing to the world the realities of people living in extremely difficult circumstances, Hetherington nonetheless won many awards for his war reporting, and was nominated for an Academy Award for his critically acclaimed documentary, Restrepo. In Here I Am, Alan Huffman tells Hetherington’s life story, and through it analyses, what it means to be a war reporter in the twenty-first century. Huffman recounts the camerman’s life from his first interest in photography and war reporting, through his critical role in reporting the Liberian Civil War, to his tragic death in Libya. Huffman also traces Hetherington’s photographic milestones, from his iconic and prize-winning pictures of Liberian children, to the celebrated portraits of sleeping US soldiers in Afghanistan. “A powerfully written biography . . . This is poignant imagery and metaphor for the entire body of this extraordinary artist and humanist’s life.” —The Huffington Post “Huffman excels at heightening the drama, depicting the rapid-fire action and constant danger of working among soldiers and guerrillas engaged in battle.” —The Boston Globe “Huffman vividly chronicles the short life of a man drawn to danger zones to capture the horrors of modern warfare.” —Los Angeles Times “Celebrate[s] Tim Hetherington’s life . . . Recount[s] his last days in Libya in excruciating detail.” —Time