Between 1914 and 1918, military, press and amateur photographers produced thousands of pictures. Either classified in military archives specially created with this purpose in 1915, collected in personal albums or circulated in illustrated magazines, photographs were supposed to tell the story of the war. Picturing the Western Front argues that photographic practices also shaped combatants and civilians' war experiences. Doing photography (taking pictures, posing for them, exhibiting, cataloguing and looking at them) allowed combatants and civilians to make sense of what they were living through. Photography mattered because it enabled combatants and civilians to record events, establish or reinforce bonds with one another, represent bodies, place people and events in imaginative geographies and making things visible, while making others, such as suicide, invisible. Photographic practices became, thus, frames of experience. -- .

How the Great War came to the cinema screen
Everyone familiar with motion picture footage of the First World War on the Western Front will certainly have witnessed the talent, daring, uniquely invaluable and enduring work of the author of this book, Geoffrey Malins. Malins was one of two 'Official War Office Kinematographers' authorised to film the allied armies in action in France. There have been comments detrimental to Malins' character, he might have been guilty of embellishment as regards his own actions (no strange phenomenon in a military memoir) and he certainly downplayed the role of his colleague J. B. McDowell to the point of invisibility, but it is pointless to concentrate on the imperfections of the man when balanced against his indisputable achievements. One thing is certain, our knowledge of the Great War would be poorer without Malins. Here was a 'movie man' prepared to go into the danger zone to record the reality of the war of wire, the blood and trenches the ordinary 'Tommy' knew, while dragging around the most cumbersome equipment. His most famous film, 'The Battle of the Somme, ' filmed in 1916 and considered to be excessively graphic by many at the time, was viewed by over 20 million people and is shown on television to the present day. Despite producing some now well known fake 'over the top' sequences, Malins was responsible for the iconic footage of the blowing of the Hawthorn Crater and anyone interested in the Great War and the earliest days of war cinematography will be fascinated to read the story of how it came about. The exploits of Malins and his colleagues make no less gripping reading.
Leonaur editions are newly typeset and are not facsimiles; each title is available in softcover and hardback with dustjacket; our hardbacks are cloth bound and feature gold foil lettering on their spines and fabric head and tail bands.

The Great War is still seen as a mostly European war. The Middle Eastern theater is, at best, considered a sideshow written from the western perspective. This book fills an important gap in the literature by giving an insight through annotated translations from five Ottoman memoirs, previously not available in English, of actors who witnessed the last few years of Turkish presence in the Arab lands. It provides the historical background to many of the crises in the Middle East today, such as the Arab-Israeli confrontation, the conflict-ridden emergence of Syria and Lebanon, the struggle over the holy places of Islam in the Hejaz, and the mutual prejudices of Arabs and Turks about each other.

Fighting Hoosiers: Indiana in Two World Wars tells the compelling, heartbreaking, and breathtaking stories of some of the hundreds of thousands of Hoosiers who served their country during the First and Second World Wars. Drawn from the rich holdings of the Indiana Magazine of History, a journal of state and midwestern history published since 1905, the collection includes original diaries, letters and memoirs, as well as research essays-all of them focused on Hoosiers in the two world wars. Readers will meet Alex Arch, a Hungarian-born immigrant who was the first American to fire a shot in World War I; Maude Essig, a nurse serving with the American Red Cross in wartime France; Kenneth Baker, a soldier in the Army Signal Corps, who crawled across French fields (sometimes over and around dead bodies) to lay phone lines for military communications; and Bernard Rice, a combat medic who witnessed the liberation of the Dachau concentration camp in 1945. Indiana's brave men and women like these have served with distinction in the armed forces since the earliest days of the Indiana Territory. Fighting Hoosiers offers a compelling glimpse at some of their remarkable stories.

First published in 1914, this is a systematic treatment of the people whose contribution to civilization of the Nile Valley was for so long a source of controversy.

The Politics of Wounds explores military patients' experiences of frontline medical evacuation, war surgery, and the social world of military hospitals during the First World War. The proximity of the front and the colossal numbers of wounded created greater public awareness of the impact of the war than had been seen in previous conflicts, with serious political consequences. Frequently referred to as 'our wounded', the central place of the soldier in society, as a symbol of the war's shifting meaning, drew contradictory responses of compassion, heroism, and censure. Wounds also stirred romantic and sexual responses. This volume reveals the paradoxical situation of the increasing political demand levied on citizen soldiers concurrent with the rise in medical humanitarianism and war-related charitable voluntarism. The physical gestures and poignant sounds of the suffering men reached across the classes, giving rise to convictions about patient rights, which at times conflicted with the military's pragmatism. Why, then, did patients represent military medicine, doctors and nurses in a negative light? The Politics of Wounds listens to the voices of wounded soldiers, placing their personal experience of pain within the social, cultural, and political contexts of military medical institutions. The author reveals how the wounded and disabled found culturally creative ways to express their pain, negotiate power relations, manage systemic tensions, and enact forms of 'soft resistance' against the societal and military expectations of masculinity when confronted by men in pain. The volume concludes by considering the way the state ascribed social and economic values on the body parts of disabled soldiers though the pension system.

This book tackles cultural mobilization in the First World War as a plural process of identity formation and de-formation. It explores eight different settings in which individuals, communities and conceptual paradigms were mobilized. Taking an interdisciplinary approach, it interrogates one of the most challenging facets of the history of the Great War, one that keeps raising key questions on the way cultures respond to times of crisis. Mobilization during the First World War was a major process of material and imaginative engagement unfolding on a military, economic, political and cultural level, and existing identities were dramatically challenged and questioned by the whirl of discourses and representations involved.

Healing the nation is a study of caregiving during the Great War, exploring life behind the lines for ordinary British soldiers who served on the Western Front. Using a variety of literary, artistic, and architectural evidence, this study draws connections between the war machine and the wartime culture of caregiving: the product of medical knowledge and procedure, social relationships and health institutions that informed experiences of rest, recovery and rehabilitation in sites administered by military and voluntary-aid authorities. Rest huts, hospitals, and rehabilitation centres served not only as means to sustain manpower and support for the war but also as distinctive sites where soldiers, their caregivers and the public attempted to make sense of the conflict and the unprecedented change it wrought. Revealing aspects of wartime life that have received little attention, this study shows that Britain's 'generation of 1914' was a group bound as much by a comradeship of healing as by a comradeship of the trenches. The author has used an extensive collection of illustrations in his discussion, and the book will make fascinating reading for students and specialists in the history of war, medicine and gender studies. -- .

Woodbine Willie was the affectionate nickname of the Reverend Geoffrey Studdert Kennedy, an Anglican priest who volunteered as a chaplain on the Western Front during the First World War. Renowned for offering both spiritual support and cigarettes to injured and dying soldiers, he won the Military Cross for his reckless courage, running into No Man's Land to help the wounded in the middle of an attack. After the war, Kennedy was involved in the Industrial Christian Fellowship, and he wrote widely. This superb biography is based on original interviews with those who knew and loved him. A deep and real concern for his fellow men drove him relentlessly, and this book shows how vital was the role he played, on the battlefields of the trenches and then the slums. Bob Holman, described by the "Daily Telegraph" as 'the good man of Glasgow, ' has made a mission of living alongside the disadvantaged of British society. An accomplished writer, who contributes regularly to the "Guardian," he is the author of several books, including "Keir Hardie" (Lion).

On April 25th 1915, during the First World War, the famous Anzacs landed ashore at Gallipoli. At the exact same moment, leading figures of Armenian life in the Ottoman Empire were being arrested in vast numbers. That dark day marks the simultaneous birth of a national story - and the beginning of a genocide. When We Dead Awaken - the first narrative history of the Armenian Genocide in decades - draws these two landmark historical events together. James Robins explores the accounts of Anzac Prisoners of War who witnessed the genocide, the experiences of soldiers who risked their lives to defend refugees, and Australia and New Zealand's participation in the enormous post-war Armenian relief movement. By exploring the vital political implications of this unexplored history, When We Dead Awaken questions the national folklore of Australia, New Zealand, and Turkey - and the mythology of Anzac Day itself.

This is the first ever major study examining of the views of the Conservative Party towards the key aspects of Anglo-German relations from 1905 to 1914. Drawing on a wide variety of original sources, it examines the Conservative response to the German threat, and argues that the response of the Conservative Party towards Germany showed a marked absence of open hostility towards Germany. Overall, this important new study provides a powerful and overdue corrective to the traditional depiction of the Conservative Party in opposition as 'Scaremongers' and the chief source of Germanophobic views among the British political parties.

The war of the French volunteers
This book does not concern the Battle of Verdun in 1916--widely considered to be the largest battle in world history, rather it positions the action geographically for the reader. Written during wartime this account concerns the personal experiences of a young officer of the French infantry from the earliest days of the Great War through a period of comparative fluidity of movement before the stalemate of trench warfare. The fighting concerns the actions about the Meuse and the Marne in the first year of the war from a French perspective and concludes as the 'armies go to earth' in the early part of 1915. Genevoix takes the reader into the heart of his enthusiastic young group of comrades and soldiers on campaign to provide valuable insights into the opening phases of the great conflict the French infantry knew. Available in soft cover and hard cover with dust jacket.

This book, the second in a planned three-part series, looks at the remainder of Sankes aviator cards numbered 544-685. Sanke, Liersch and NPG postcards featuring German World War I aviators have been collected, traded, and reproduced in many publications over the years, but no author until now has focused on determining when, where, why, and by whom these pictures were taken, or when and why they were issued as postcards. This work pursues the answers to those questions, and while doing so unfolds like a detective story. At its heart is the vast collection of supportive photographs, including some of the original images behind the postcards - many have rarely, if ever, been viewed by the modern public.