This is an updated edition of the first truly concise introduction to the history of World War II in the West. The author, S. P. MacKenzie traces the major events on both fighting front and home front, explaining what happened and, just as importantly, why the balance of fortunes swung first towards the Axis and then towards the Allies. Along with overviews of the origins and consequences of the conflict, the book:

• Provides a narrative account of the course of events on land throughout the war
• Contains sections specifically devoted to societies and economies; resistance movements and collaboration; technology and intelligence; alliances and strategy; the war in the air and at sea
• Assesses the impact of the war and introduces the key historiographical debates surrounding it

Far from being a blow-by-blow account, the book shows how the Second World War can only be understood by taking all the contributing factors - military, economic and social among others - into account. In addition to the existing wealth of useful supplementary material, this edition has been updated to include a colour illustration section and, for readers interested in learning more, a detailed narrative guide to published historical literature. Admirably succinct yet academically rich, this is the essential introduction to the Second World War in the West.

This presents a major re-evaluation of the standard view of revolutionary armies, the range of attitudes towards the role of heroic individuals, the formation and leadership of armies, and the differences and similarities between such armies. Beginning with an exploration of the New Model Army of the 1640s, a force whose name itself seems to denote its revolutionary credentials, the author presents ten case studies from around the globe, including the American War of Independence, The French Revolution, The Zulu-Boer War, the Waffen SS and the Viet-Cong. Through a detailed analysis of source material, he examines the images connected with these armies, both historical and recent, and assesses these images in their socio-political and nationalist contexts.

This is an updated edition of the first truly concise introduction to the history of World War II in the West. The author, S. P. MacKenzie traces the major events on both fighting front and home front, explaining what happened and, just as importantly, why the balance of fortunes swung first towards the Axis and then towards the Allies. Along with overviews of the origins and consequences of the conflict, the book: Provides a narrative account of the course of events on land throughout the war Contains sections specifically devoted to societies and economies; resistance movements and collaboration; technology and intelligence; alliances and strategy; the war in the air and at sea Assesses the impact of the war and introduces the key historiographical debates surrounding it Far from being a blow-by-blow account, the book shows how the Second World War can only be understood by taking all the contributing factors - military, economic and social among others - into account. In addition to the existing wealth of useful supplementary material, this edition has been updated to include a colour illustration section and, for readers interested in learning more, a detailed narrative guide to published historical literature. Admirably succinct yet academically rich, this is the essential introduction to the Second World War in the West.

This presents a major re-evaluation of the standard view of revolutionary armies, the range of attitudes towards the role of heroic individuals, the formation and leadership of armies, and the differences and similarities between such armies.
Beginning with an exploration of the New Model Army of the 1640s, a force whose name itself seems to denote its revolutionary credentials, the author presents ten case studies from around the globe, including the American War of Independence, The French Revolution, The Zulu-Boer War, the Waffen SS and the Viet-Cong. Through a detailed analysis of source material, he examines the images connected with these armies, both historical and recent, and assesses these images in their socio-political and nationalist contexts.

A quarter of a century after his death, Douglas Bader remains the most famous fighter pilot that Britain has ever known. He lost both of his legs in a flying accident in 1931, but overcame his disability and returned to the RAF in 1939 to command the Canadian Fighter Squadron during the Battle of Britain. Held as a prisoner of war at several German camps--including the infamous Colditz Castle--he made numerous escape attempts, becoming such an aggravation that his captors were forced to confiscate his tin legs. Such was his fame on his return to England that his autobiography sold 100,000 copies upon publication, and the hugely successful film about his life--"Reach for the Sky"--further popularized his legend. While he had as many flaws as laudable qualities, Bader undeniably achieved great things, both during the Second World War and in his later work for disabled charities. This study makes use of new memoirs, interviews, and documents that have only recently become available to shed further light on various episodes in his life and provide an unbiased portrayal of this fascinating man.

S. P. Mackenzie examines in depth for the first time the origins, development, and reception of the major dramatic screen representations of 'The Few' in the Battle of Britain produced over the past seventy years. It explores both continuity and change of presentation in relation to a wartime event that acquired near-mythical dimensions in popular consciousness even before it happened and has been represented multiple times over the course of the past seven decades. Alongside technical developments, considerable social, cultural, and political fluctuation (as well as an expansion of factual knowledge concerning the battle itself) occurred in this period, all of which helped to shape how the battle came to be framed at particular junctures. The ways in which the Battle of Britain was being represented in other fictional forms as well histories and commemorations form part of the context in which screen representations are explored.

Films discussed in detail include "The Lion Has Wings," "First of the Few," "Angels One Five," "Reach for the Sky," and "Battle of Britain," along with the television productions "Piece of Cake" and "A Perfect Hero," Foreign productions, such as "A Yank in the RAF" and "Dark Blue World," as well as abandoned projects and dramas in which 'The Few' feature in a more tangential fashion, are also mentioned in context. The emphasis throughout is on production issues and the extent to which these screen dramas reflected or influenced popular understanding of 1940. "The Battle of Britain on Screen" is therefore a contribution to the growing scholarly literature on how the Second World War has been remembered and represented within the United Kingdom.

Since the Second World War, depictions of Royal Air Force operations in film and television drama have become so numerous that they make up a genre worthy of scholarly attention. In this illuminating study, S. P. MacKenzie explores the different ways in which the men of RAF Bomber Command have been represented in dramatic form on the big and small screen from the war years to the present day. Bomber Boys on Screen is the first in-depth study of how and why the screen-drama image of those who flew, those who directed them, and those who provided support for RAF bomber operations has changed over time, sometimes in contested circumstances. Until now dramas that focus on Bomber Command have tended to be mentioned only in passing or studied in isolation, despite the prevalence of surveys of both the British war film genre and of aviation cinema. In Bomber Boys on Screen MacKenzie examines the development, presentation, and reception of significant dramas on a decade-by-decade basis. Titles from the beginning of the war (The Lion Has Wings, 1939) to the start of new century (Bomber's Moon, 2014) are situated in the context of technical possibilities and limitations, evolving social and cultural norms in the United Kingdom and elsewhere, and the development of moral and utilitarian controversies surrounding the wartime bomber offensive directed against Nazi Germany. While the focus is on feature films and television plays, reference is also made to documentaries, memorials, veterans' organizations, book titles, war comics, and other representations of the war fought by Bomber Command.

Since the Second World War, depictions of Royal Air Force operations in film and television drama have become so numerous that they make up a genre worthy of scholarly attention. In this illuminating study, S. P. MacKenzie explores the different ways in which the men of RAF Bomber Command have been represented in dramatic form on the big and small screen from the war years to the present day. Bomber Boys on Screen is the first in-depth study of how and why the screen-drama image of those who flew, those who directed them, and those who provided support for RAF bomber operations has changed over time, sometimes in contested circumstances. Until now dramas that focus on Bomber Command have tended to be mentioned only in passing or studied in isolation, despite the prevalence of surveys of both the British war film genre and of aviation cinema. In Bomber Boys on Screen MacKenzie examines the development, presentation, and reception of significant dramas on a decade-by-decade basis. Titles from the beginning of the war (The Lion Has Wings, 1939) to the start of new century (Bomber's Moon, 2014) are situated in the context of technical possibilities and limitations, evolving social and cultural norms in the United Kingdom and elsewhere, and the development of moral and utilitarian controversies surrounding the wartime bomber offensive directed against Nazi Germany. While the focus is on feature films and television plays, reference is also made to documentaries, memorials, veterans' organizations, book titles, war comics, and other representations of the war fought by Bomber Command.

This new, updated edition of The Battle of Britain on Screen examines in depth the origins, development and reception of the major dramatic screen representations of 'The Few' in the Battle of Britain produced over the past 75 years. Paul MacKenzie explores both continuity and change in the presentation of a wartime event that acquired and retains near-mythical dimensions in popular consciousness and has been represented many times in feature films and television dramas. Alongside relevant technical developments, the book also examines the social, cultural, and political changes occurring in the second half of the 20th century and first decade of current century that helped shape how the battle came to be framed dramatically. This edition contains a new chapter looking at the portrayal of the Battle of Britain at the time of its 70th anniversary. Through its perceptive demonstration of how our memory of the battle has been constantly reshaped through film and television, The Battle of Britain on Screen provides students of the Second World War, 20th-century Britain and film history with a thorough and complex understanding of an iconic historical event.

The cinema was the most popular form of entertainment during the Second World War. Film was a critically important medium for influencing opinion. Films, such as In Which We Serve and One of Our Aircraft is Missing, shaped the British people's perceptions of the conflict. British War Films, 1939-45 is an account of the feature films produced during the war, rather than government documentaries and official propaganda, making the book an important index of British morale and values at a time of desperate national crisis.

During World War II, Allied casualty rates in the air were high. Of the roughly 125,000 who served as aircrew with Bomber Command, 59,423 were killed or missing and presumed killed-a fatality rate of 45.5%. With odds like that, it would be no surprise if there were as few atheists in cockpits as there were in foxholes; and indeed, many airmen faced their dangerous missions with beliefs and rituals ranging from the traditional to the outlandish. Military historian S. P. MacKenzie considers this phenomenon in Flying against Fate, a pioneering study of the important role that superstition played in combat flier morale among the Allies in World War II. Mining a wealth of documents as well as a trove of published and unpublished memoirs and diaries, MacKenzie examines the myriad forms combat fliers' suspicions assumed, from jinxes to premonitions. Most commonly, airmen carried amulets or talismans-lucky boots or a stuffed toy; a coin whose year numbers added up to thirteen; counterintuitively, a boomerang. Some performed rituals or avoided other acts, e.g., having a photo taken before a flight. Whatever seemed to work was worth sticking with, and a heightened risk often meant an upsurge in superstitious thought and behavior. MacKenzie delves into behavior analysis studies to help explain the psychology behind much of the behavior he documents-not slighting the large cohort of crew members and commanders who demurred. He also looks into the ways in which superstitious behavior was tolerated or even encouraged by those in command who saw it as a means of buttressing morale. The first in-depth exploration of just how varied and deeply felt superstitious beliefs were to tens of thousands of combat fliers, Flying against Fate expands our understanding of a major aspect of the psychology of war in the air and of World War II.

During the Korean War nearly a thousand British servicemen, along with a handful of British civilians, were captured by North Korean and Red Chinese forces. In various camps in the vicinity of Pyongyang and villages along the Yalu River these men found themselves subjected to a prolonged effort by the enemy to undermine their allegiance to the Crown and enlist them in various propaganda campaigns directed against the UN war effort. British Prisoners of the korean War is the first academic study to examine in detail exactly what happened to the major groups of British military and civilian prisoners held in different locations at various junctures between 1950 and 1953. It explores the extent to which factors such as exposure to the actions of the North Koreans as against the Red Chinese, evolving physical conditions, enemy re-education efforts, communist attempts at blackmail, British attitudes towards the Americans, and personal background and leadership qualities among captives themselves influenced the willingness and ability of the British prisoners to collaborate or resist. Thanks to the availability of hitherto classified or underutilized source materials, it is now possible to test the common popular assumption-based on official accounts and memoirs from the 1950s-that, in marked contrast to their American cousins, British captives in the Korean War were pretty much immune to communist efforts at subverting their loyalty. The results suggest that British attitudes and actions while in enemy hands were rather more nuanced and varied than previously assumed.

The extraordinarily popular British television program "Dad's Army" suggests that Britain's Home Guard during the Second World War was home to charming incompetence and lighthearted buffoonery. In 1940, however, the threat of a German invasion of Britain appeared very real. S. P. MacKenzie's detailed and readable history of the Home Guard offers a new perspective on the men who took up the challenge. Despite its popular image of old men and teenagers playing soldiers, the Home Guard, often as large as the wartime army, became an astonishingly strong political force in its own right. Quite literally the people in arms, it proved able to exert a good deal of influence on policy.
The Home Guard was never called upon to fulfil its military role, though there was a brief attempt to resurrect it in the 1950s. Since then it has been largely neglected by military historians and there have been few serious examinations of the part it played in the Home Front. This book fills that gap.