"This book names the most powerful forces in Europe which organized the Fascist and Nazi parties and movement, the powerful American forces which own, control and subsidize native Fascism, and the spokesmen, radio orators, writers and other agents of reaction in America." Facts and Fascism is the definitive account and source book on Fascism in the United States after the First World War and on into the Second. No doubt every subsequent work on this explosive topic owes a great debt to this original research. By crusading investigative journalist George Seldes, the book is in three parts: 1) The Big Money and Big Profits in Fascism, 2) Native Fascist Forces, and 3) Our Press as a Fascist Force. The first part reveals the backing of U.S. and British big business behind the rise of Fascism and militarism, with chapters on Germany, Italy, Japan, and Spain, the Nazi cartels and the National Association of Manufacturers. The author was a reporter in Italy in the early 20's as Fascism got its start, and wrote a full-length, critical portrait of Mussolini. In "Native Fascist Forces," Seldes first tells the story of the botched putsch by J. P. Morgan and the American Legion against FDR in 1934 - surely one of the most hushed-up episodes in US history. Next Seldes dissects the Ford empire's support for Nazism and its repressive, even murderous labor practices, and Nazi apologists like Lindbergh, Father Coughlin and the Reader's Digest. The third part explores and deplores acts of treason by war-profiteering heavy industry and by the major newspaper chains. He exposes their habit of faking news for their political agenda, going back to the 1850's in support of black slavery, and white servitude - that is, with attacks on labor and social justice. The last chapter discusses profiteering from a different form of slavery, the tobacco addiction. Among the appendices is one on the definition of Fascism, and data on Who Owns America - thirteen plutocratic families.

"The Verdict of the VERSAILLES TREATY that Germany and her allies were responsible for the War, in view of the evidence now available, is historically unsound. It should therefore be revised." These are the words of Sidney Bradshaw Fay, noted revisionist historian, on the concluding page of his magisterial Origins of the World War, published in 1928. We now know more about the Great War than merely its origins. We now know that Great Britain's first act of war on 4 August 1914 was to cut the two trans-Atlantic cables that connected Berlin to New York City. We now know that America's professed neutrality in the early years of the conflict was a hoax. We now know that the Cunard passenger liner RMS Lusitania doubled as a munitions ship, and purposefully steamed into harm's way in May 1915. We now know that the alleged atrocities by the German army in Belgium were all lies. We now know that the British organized a massive, covert propaganda apparatus with the goal of dragging America into the war on the side of the Allies. And we now also know that America's involvement in 1917 as a belligerent in Europe was a tragic misstep by anglophile Woodrow Wilson, that had profound implications not only for the United States but for Europe as well, ensuring an even more catastrophic reprise in 1939. Wilson himself declared, "We all know that this was a commercial war," in September 1919. In April 1937, on the 20th anniversary of America's entry into the war, a Gallup Poll found that 70 percent of respondents thought "it was a mistake for the United States to have entered the Great War." Dr. George Gallup himself declared that "this conviction has been the great master principle of the post-war period in the United States". The lesson is forgotten, propaganda for war repeats, and history repeats. The majorities supporting an invasion of Iraq in 2003 turned two years later to 60 percent opposition to the war...a lesson learned too late again.

Costume design is a crucial, but frequently overlooked, aspect of film that fosters an appreciation of the diverse ways in which film and fashion enrich each other. These influential industries offer representations of ideas, values, and beliefs that shape and construct cultural identities. In Fashioning Spanish Cinema, Jorge Perez analyses the use of clothing and fashion as costumes within Spanish cinema, paying particular attention to the significance of those costumes in relation to the visual styles and the narratives of the films. The author examines the links between costume analysis and other fields and theoretical frameworks such as fashion studies, the history of dress, celebrity studies, and gender and feminist studies. Fashioning Spanish Cinema looks at instances in which costumes are essential to shaping the public image of stars, such as Conchita Montenegro, Sara Montiel, Victoria Abril, and Penelope Cruz. Focusing on examples in which costumes have discursive autonomy, it explores how costumes engage with broader issues of identity and, relatedly, how costumes impact everyday practices and fashion trends beyond cinema. Drawing on case studies from multiple periods, films by contemporary directors and genres, and red-carpet events such as the Oscars and Goya Awards, Fashioning Spanish Cinema contributes a pivotal Spanish perspective to expanding interdisciplinary work on the intersections between film and fashion.