On April 26, 1986, at 1:24 a.m, the world's worst ever man-made disaster took place. Reactor 4 at Chernobyl Nuclear Power Station, three kilometres from Pripyat in the then Soviet Republic of Ukraine, was beset by a series of explosions that rose deep from its radioactive depths and blasted itself high into the atmosphere, eventually seeping its way into the far corners of the globe. Today the impact of Chernobyl, 21 years later, has become a half-global legend and half-forgotten horror story. The reality is still with many of the 50,000 people who on that fateful night in Pripyat were given less than an hour to gather together their possessions and escape to relative safety 70km away. They were considered the lucky ones, fortunate not to have been vaporised on the spot or to die an excruciating death soon after in the hospitals in Kiev and Moscow that some of the workers and firemen sent to fight the blaze did. Most of the inhabitants had no choice but to gradually return to the contaminated areas that they still call home, and for the past 20 years have continued to live under the shadow of the reactor. Pripyat, in the centre of the 30km wide Red Zone, is still largely a ghost town, where the paint peels in houses and schools, and the dirt settles on childrens' toys that will never be reclaimed. Meanwhile emergency orders still apply to 355 farms in Wales, 11 in Scotland and nine in England. "Chernobyl - The Hidden Legacy" shows the region over a period of three years by Pierpaolo Mittica, who returned several times to document the people and the contaminated landscape they still inhabit. Our world today demands nuclear energy as the answer to its energy crisis, and the legacy of Chernobyl remains shrouded. Time is running out, as the sarcophagus built to contain the reactor and its radioactive contents begins to crumble away. No one has the answers and no one is asking the questions - but can the world afford another Chernobyl?

Naomi Rosenblum's classic history of photography traces the evolution of this young art form chronologically and thematically. Exploring the diverse roles that photography has played in the communication of ideas, Rosenblum devotes special attention to topics such as portraiture, documentation, advertising, and photojournalism, and to the camera as a means of personal artistic expression. Her text is illustrated with nearly 900 images by photographers both celebrated and little known, arranged in stimulating juxtapositions that illuminate their visual power. This fifth edition of A World History of Photography is substantively revised and updated. The photography of the past several decades is reevaluated from a contemporary perspective, and international developments are covered in greater detail. The main strands of today's complex universe of digital image-making are masterfully summarised and placed in their historical context, and the careers of representative contemporary photographers are studied in depth. Thoughtfully written, carefully and abundantly illustrated, and provided with a full apparatus - including a chronology, glossary, and annotated bibliography - Rosenblum's volume remains the indispensable work on its subject.

Naomi Rosenblum's classic history of photography traces the evolution of this young art form chronologically and thematically. Exploring the diverse roles that photography has played in the communication of ideas, Rosenblum devotes special attention to topics such as portraiture, documentation, advertising, and photojournalism, and to the camera as a means of personal artistic expression. Her text is illustrated with nearly 900 images by photographers both celebrated and little known, arranged in stimulating juxtapositions that illuminate their visual power. This fifth edition of A World History of Photography is substantively revised and updated. The photography of the past several decades is reevaluated from a contemporary perspective, and international developments are covered in greater detail. The main strands of today's complex universe of digital image-making are masterfully summarised and placed in their historical context, and the careers of representative contemporary photographers are studied in depth. Thoughtfully written, carefully and abundantly illustrated, and provided with a full apparatus - including a chronology, glossary, and annotated bibliography - Rosenblum's volume remains the indispensable work on its subject.

This book is the fruit of twelve years' study of the rituals performed by ethnic-Igbo Nigerians living in Italy. It is first and foremost a journey through the customs, rites, and ceremonies carried out in makeshift places of worship created by men and women who gather together on abandoned football pitches or in hangars. Since human vicissitudes have led to many of these rites no longer being performed in Africa, this research also tells us much about the role of memory and the importance of what once was; these rituals have now become part of our postmodern culture. The desire to reproduce an event as it was experienced in its place of origin is an unavoidable instinct that tends to build an elementary form of transnationality. These Nigerians thus turn into "healthy bearers" of a particular culture in their relations with the host population or with their compatriots, who today often seem cut off from their roots. It is ritual that makes a place sacred: the Nigerian community performs its rituals in a particularly run-down environment, but man s action turns it into a place of purity. This sense of sacredness pervades the photographs of Aniello Barone, where the darkness of the night is lit up by a "brightness" that seems to emanate from the soul of succour. The observer, the witness to the rite, man, the camera, and the actors end up as part of the same symbolic world.