The nineteenth century was the heyday of furious contention between American political parties, and Joel Silbey has recaptured the drama and substance of those battles in a representative safmpling of party pamphlets. Political parties mapped the landscape of electoral and ideological warfare, constructing images of themselves and of their adversaries that resonate and echo the basic characteristics of America's then reigning sets of ideas. The nature of political controversy, as well as the substance of politics, is embedded in these party documents, which both united and divided Americans. Unlike today's party platforms, these pamphlets explicated real issues and gave insight into the society at large. Andrew Jackson's Democrats, Millard Fillmore's Whigs, Abraham Lincoln's Republicans, and other, lesser-known parties are represented here. The pamphlets demonstrate how, for this fifty-year period, political parties were surrogates for American demands and values. Broad in scope, widely circulated, catalysts for heated debate over the decades, these pamphlets are important documents in the history of American politics.

In a brilliant monograph-length introduction, Silbey teases out and elucidates the themes each party stressed and took as its own in its fight for the soul of the nation.

An expose of Hitler's relationship with film and his influence on the film industry A presence in Third Reich cinema, Adolf Hitler also personally financed, ordered, and censored films and newsreels and engaged in complex relationships with their stars and directors. Here, Bill Niven offers a powerful argument for reconsidering Hitler's fascination with film as a means to further the Nazi agenda. In this first English-language work to fully explore Hitler's influence on and relationship with film in Nazi Germany, the author calls on a broad array of archival sources. Arguing that Hitler was as central to the Nazi film industry as Goebbels, Niven also explores Hitler's representation in Third Reich cinema, personally and through films focusing on historical figures with whom he was associated, and how Hitler's vision for the medium went far beyond "straight propaganda." He aimed to raise documentary film to a powerful art form rivaling architecture in its ability to reach the masses.

In the post 9/11 world, the emotionally charged concepts of identity and ideology, enmity and political violence have once again become household words. Contrary to the serene assumptions of the early 1990s, history did not end. Civilisations are busy clashing against one another, and the self-proclaimed pacified humanity is once again showing its barbaric roots.Religion mixes with politics to produce governments that abuse even their own citizens, and victorious insurgents too often fail to carry out the promised reforms. Terrorists blow up unsuspecting pedestrians, and allegedly democratic nations threaten to bomb allegedly less democratic ones back to the Stone Age. Mass demonstrations materialise like flash mobs out of nowhere, prepared to hold their ground until the bitter end.Where does all this passionate intensity come from? To better understand how the ideological enmity of today is moulded, spread and managed, this book investigates the propaganda operations of the past. Its topics range from the ruthless portrayal of female enemy soldiers in an early-20th-century civil war setting to the multiple enemy images cherished by Adolf Hitler, and onwards, to the WWII Soviet Russians as a subtype of a more ancient notion of the Eastern Hordes. Of more recent events, the book covers the Rwandan genocide of 1994 and the still ongoing Israel-Palestine conflict. The closing chapter on cyber warfare introduces the reader to the invisible enemies of the future.

Despite the vast body of texts inspired by warfare - from The Iliad to Maus - war writing is perpetually haunted by the notions of unrepresentability and inadequacy. War and Words examines the methods, conventions and pitfalls of constructing verbal accounts of military conflict in literature and the media. This multifocal study draws on a wide array of theoretical perspectives, including feminism, posthumanism, masculinity, trauma, spatiality and media studies, and brings together such diverse material as canonical literature, war veterans' testimonies, imaginative fiction, computer games, English curricula, and Al-Qaeda's propaganda pieces. In five consecutive sections - "Spreading War Propaganda", "Reconstructing War Spaces", "Envisioning War", "Gendering War", and "Teaching War" - the contributors consider war in its manifold aspects: as an ideological tool used for propaganda purposes, as a spatial reconstruction performed for the critical reassessment of past conflicts, as a projection (or extrapolation) of possible future conflicts and their social repercussions, as a political statement to deconstruct the oppressive nature of violence, and, finally, as a didactic tool to foster empathy. This collection will appeal primarily to academics specialising in English and American literature, but also to those researching media, gender, and game studies.

Cultural, historical and textual analysis of 300 propaganda pamphlets written by 166 German laymen and women reveals that each social class heard the Reformation message differently. The writers enthusiastically interpreted the Bible for themselves, finding justification for social and economic changes which suited the aims of their own class. The new ideology deepened the existing divisions in rural and urban society. The book presents, for the first time, a comprehensive selection of 166 lay authors.
Knights, rural civil servants, technicians, patricians, lawyers and artisans describe the existing social order, their new beliefs and their hopes for change. They are eloquent and immensely human.

The British far right is working to dismantle our democracy. This shocking, eye-opening undercover journey reveals who they are, how they operate and how they are normalising extreme ideologies including eugenics.

In summer 2024, riots swept England in the biggest wave of far-right violence in the post-war period. But far-right activity takes many other forms as well, all of them dangerous.

Journalist Harry Shukman knows the dangers all too well: he’d gone undercover to infiltrate these groups. For over a year, he carefully attached his hidden lapel camera and pretended to be an extremist named Chris.

We follow Shukman as he hangs out in the pub with a secretive community network, canvasses with political party Britain First and attends a neo-Nazi conference. We meet a circle of Holocaust deniers, a race science organisation with a major Silicon Valley investor and right-wing think tanks supported by Conservative policymakers. What we witness is hard to believe, or stomach.

Year of the Rat is a gripping and urgent exposé – nail-bitingly tense, darkly absurd and utterly chilling. Risking his safety and sanity, Shukman has removed the far right’s terrifyingly everyday mask. Now, we must ensure it stays off.

The Reckoning will examine America's national trauma, rooted in its long history of slavery and civil rights abuses, but dramatically exacerbated by the impact of recent events and the Trump administration's corrupt and immoral policies.

America's failure to acknowledge this trauma, let alone root it out, has allowed it to metastasize. Whether it manifests itself in rising levels of rage and hatred, or hopelessness and apathy, the stress of living in a country many no longer recognize has affected everyone. America is suffering from PTSD - a new leader alone cannot fix it.

An enormous amount of healing must be done to rebuild faith in America's leadership and hope for the nation. It starts with The Reckoning.