Surviving Images explores the prominent role of cinema in the development of cultural memory around war and conflict in colonial and postcolonial contexts. It does so through a study of three historical eras: the colonial period, the national-independence struggle, and the postcolonial. Beginning with a study of British colonial cinema on the Sudan, then exploring anti-colonial cinema in Algeria, Egypt and Tunisia, followed by case studies of films emerging from postcolonial contexts in Palestine, Iran, Lebanon, and Israel, this work aims to fill a gap in the critical literature on both Middle Eastern cinemas, and to contribute more broadly to scholarship on social trauma and cultural memory in colonial and postcolonial contexts. This work treats the concept of trauma critically, however, and posits that social trauma must be understood as a framework for producing social and political meaning out of these historical events. Social trauma thus sets out a productive process of historical interpretation, and cultural texts such as cinematic works both illuminate and contribute to this process. Through these discussions, Surviving Images illustrates cinema's productive role in contributing to the changing dynamics of cultural memory of war and social conflict in the modern world.

The first comprehensive examination of the relationship between war and public health, this book documents the public health consequences of war and describes what health professionals can do to minimise these consequences. It explores the effects of war on health, human rights, and the environment. The health and environmental impact of both conventional weapons and weapons of mass destruction (nuclear, chemical, and biological weapons) is described in chapters that cover the consequences of their production, testing, maintenance, use, and disposal. Separate chapters cover especially vulnerable populations, such as women, children, and refugees. In-depth descriptions of specific military conflicts, including the Vietnam War, the Persian Gulf War, and wars in Central America provide striking illustrations of the issues covered in other chapters. A series of chapters explores the roles of health professionals and of organisations during war, and in preventing war and its consequences. This revised second edition includes seven new chapters, including one on landmines by the Nobel Prize-winning founding director of the International Campaign to Ban Landmines.

The fifteen new essays collected in this volume address questions concerning the ethics of self-defense, most centrally when and to what extent the use of defensive force, especially lethal force, can be justified. Scholarly interest in this topic reflects public concern stemming from controversial cases of the use of force by police, and military force exercised in the name of defending against transnational terrorism. The contributors pay special attention to determining when a threat is liable to defensive harm, though doubts about this emphasis are also raised. The legitimacy of so-called "stand your ground" policies and laws is also addressed. This volume will be of great interest to readers in moral, political, and legal philosophy.

To describe the complexity of this ever-changing and multi-layered terrain, Kremer creates aesthetic, orderly and beautiful compositions that parallel the defense mechanisms developed to protect Israelis from the painful reality of the current political situation. Rather than confronting the Israeli occupation in the way that it has been absorbed by the world's media, Kremer adopts a more subtle approach. For him, the media's aggressive representation of reality numbs people's sensibilities making them callous to the suffering of others.Instead of shock, Kremer seeks to challenge the viewer, using the landscape as a focus to understand the overwhelming impact of the situation at the deepest of levels. Four decades ago the historian and philosopher, Yeshayahu Leibovich, forewarned that the Israeli occupation was a cancerous disease in the heart of the nation. As Kremer himself says, 'my goal is to reveal how every piece of land has become infected with loaded sediments of the ongoing conflict'.