The explosion of Pan Am Flight 103 over Lockerbie, Scotland, in December 1988, should never have happened. Wallis, who has extensive, direct, personal knowledge of aviation security matters gained from his position at the crossroads of security information and the industry's endeavors to combat aviation terrorism, had warned the industry one year before the bombing that the interline element of baggage represented the prime opportunity for terrorist activity and had urged the adoption of passenger and baggage matching, a system that he had helped to develop. Mandated by the FAA for use at high risk airports, it was the feature missing from Pan AM's activity at Frankfort, an omission so cruelly exploited by the bombers. Wallis argues that the priority given by governments to technological solutions to the continuing terrorist threat puts the flying public at unnecessary risk every day.

This volume brings together all of the facts surrounding the sabotage of Flight 103, including the investigation and the civil litigation in which so much of the story unfolded for the first time. It uncovers the fundamental weaknesses in Pan AM's communication and management policies. Wallis supports the policy that politics are politics and explores the possibility that U.S. and U.K. policy towards a neutral trial for the two Libyans indicted for the bombing, which may have been affected by the wider scenario of Middle East politics rather than simple justice for the victims of Lockerbie. Although the tragedy has led to improvements in defense technology for use against acts of aviation sabotage, these methods have yet to be applied universally.

The September 11, 2001, attacks on the World Trade Center and the Pentagon raised numerous questions about American and international aviation security. Former Director of Security of the International Air Transport Association Rodney Wallis suggests that the failure to maximize U.S. domestic air security, which left air travelers vulnerable to attack, lay largely with the carriers themselves. He contends that future policies should parallel the standards of the International Civil Aviation Organization. Wallis considers the Aviation and Transportation Security Act adopted by the U.S. Congress in the wake of September 11 and offers a modus operandi to the FAA that would enable them to maximize the benefits this legislation provides to air travelers.

This important work reviews past government reactions to the threat posed by air terrorism and questions whether these were effective responses or merely window dressing. It also includes practical advice for air travelers on how to maximize their own security when flying on international routes by monitoring airport and airline security for themselves.

While Israel has seemingly been a minor presence in Hollywood cinema, Reimagining the Promised Land argues that there is a long history of Hollywood deploying images of Israel as a means of articulating an idealized notion of American national identity. This argument is developed through readings of The Ten Commandments (Cecil B. DeMille, 1956), Ben-Hur: A Tale of the Christ (William Wyler, 1959), Exodus (Otto Preminger, 1960), Cast a Giant Shadow (Melville Shavelson, 1966), Black Sunday (John Frankenheimer, 1977), The Delta Force (Menahem Golan, 1986), and Munich (Steven Spielberg, 2005). The mobilization of Israel that pervades this eclectic group of films effectively demonstrates one of the more surreptitious ways in which Hollywood has historically constructed and circulated dominant notions of American national identity. Moreover, in examining the most notable Hollywood representations of the Jewish state, the book offers an informed historical overview of the cultural forces that have contributed to popular understandings within the United States of the state of Israel, Israel's Arab neighbours, and also the Arab-Israeli conflict.

While Israel has seemingly been a minor presence in Hollywood cinema, Reimagining the Promised Land argues that there is a long history of Hollywood deploying images of Israel as a means of articulating an idealized notion of American national identity. This argument is developed through readings of The Ten Commandments (Cecil B. DeMille, 1956), Ben-Hur: A Tale of the Christ (William Wyler, 1959), Exodus (Otto Preminger, 1960), Cast a Giant Shadow (Melville Shavelson, 1966), Black Sunday (John Frankenheimer, 1977), The Delta Force (Menahem Golan, 1986), and Munich (Steven Spielberg, 2005). The mobilization of Israel that pervades this eclectic group of films effectively demonstrates one of the more surreptitious ways in which Hollywood has historically constructed and circulated dominant notions of American national identity. Moreover, in examining the most notable Hollywood representations of the Jewish state, the book offers an informed historical overview of the cultural forces that have contributed to popular understandings within the United States of the state of Israel, Israel’s Arab neighbours, and also the Arab-Israeli conflict.