The Bosnian war of 1992-1995 was one of the most brutal conflicts to have erupted since the end of the Second World War. But although the war occurred in 'Europe's backyard' and received significant media coverage in the West, relatively little scholarly attention has been devoted to cultural representations of the conflict. Stephen Harper analyses how the war has been depicted in global cinema and television over the past quarter of a century. Focusing on the representation of some of the war's major themes, including humanitarian intervention, the roles of NATO and the UN, genocide, rape and ethnic cleansing, Harper explores the role of popular media culture in reflecting, reinforcing -- and sometimes contesting -- nationalist ideologies.

From the Arab Spring and London riots through the era of Brexit and Trump, the Covid-19 pandemic and war in Europe, this volume collects eleven years of lively, informative and entertaining essays and polemics, focusing on media treatment of major global conflicts, political entanglements and culture-war squabbles. --- Taking aim at the distortions and omissions of news reports and cultural narratives in the Western world, Stephen Harper highlights the dislocation between humanity's existential crisis and the failure of the corporate media to register its underlying causes - or even to entertain any real discussion of its solution. Instead, he argues, the media blithely serve the narrow interests of a global elite that is subjecting the planet to a reign of fire in the form of endless wars and ecological destruction. --- Harper reviews contemporary journalistic, cinematic and televisual coverage, engaging with broad cultural topics such as 'cancel culture', the incel phenomenon and Covid conspiracy theories, as well as media events like the debate between Jordan Peterson and Slavoj Zizek. For all its eclecticism, Hot Planet, Cool Media has an ideological cohesiveness, rejecting popular left and right political positions and advocating the cause of socialism or communism in the Marxian sense of a classless, leaderless, moneyless society.

An attack by a British destroyer on a German U-boat in the Eastern Mediterranean in October 1942 altered the course of the entire war. The capture of secret coding material from U-559, at the cost of two of HMS Petard's crew, enabled Bletchley Park's codebreakers to successfully crack the U-boat cypher. It was the crucial factor in defeating Hitler's Atlantic U-boat wolf packs before they succeeded in starving Britain into defeat in the winter of 1942-1943. Here is the true story of how HMS Petard attacked and captured U-559 in the darkness of a Mediterranean night. It describes how members of her crew swam across to the slowly sinking U-boat and captured vital German Enigma codebooks. But the damage sustained by U-559 in the earlier attack proved fatal and without warning she sank before Petard could take her in tow. Two of the destroyer's crew were trapped in the conning tower and went to the bottom with her. Both men were later recommended for posthumous awards of the Victoria Cross but the Admiralty, concerned this might draw unwanted attention from German Intelligence, instead ordered posthumous awards of the George Cross, the highest civilian award for bravery.

The bestselling first edition of The McGraw-Hill Guide to Starting Your Own Business sold more than 75,000 copies, and took the reader step-by-step through the entire process of starting a new venture. This completely revised second edition once again shows entrepreneurs the keys to determining the best business opportunities, creating a business plan, and formulating a winning marketing strategy. In addition, it now profiles alternative sources of funding from SBA loans to angel investors and provides valuable dos and donts from over one hundred entrepreneurs.

The Bosnian war of 1992-1995 was one of the most brutal conflicts to have erupted since the end of the Second World War. But although the war occurred in 'Europe's backyard' and received significant media coverage in the West, relatively little scholarly attention has been devoted to cultural representations of the conflict. Stephen Harper analyses how the war has been depicted in global cinema and television over the past quarter of a century. Focusing on the representation of some of the war's major themes, including humanitarian intervention, the roles of NATO and the UN, genocide, rape and ethnic cleansing, Harper explores the role of popular media culture in reflecting, reinforcing -- and sometimes contesting -- nationalist ideologies.

Kevin Devereaux’ Leben kann gar nicht mehr schlimmer werden. Er steht unter BewÄhrung und lebt zusammen mit seinem vorbestraften, arbeitslosen Dad in einem heruntergekommenen Trailer im verrufenen Osten der Stadt. Um seine BewÄhrungshelferin bei Laune zu halten, tritt er einer Theatergruppe fÜr Jugendliche bei und verliebt sich Hals Über Kopf in Peter Finn, den Hauptdarsteller der Produktion – und Sohn des reichsten Elternhauses der Stadt. Trotz ihrer Unterschiede erwidert Peter Kevins GefÜhle und zum ersten Mal erfÄhrt Kevin, was es bedeutet, verliebt zu sein. Doch Peters Familie weigert sich, einen schwulen Sohn zu akzeptieren – und schon gar nicht einen Freund aus Ärmeren VerhÄltnissen – und so mÜssen die beiden in der konservativen Stadt ihre Beziehung geheim halten. Immerhin bleibt ihnen das TheaterstÜck und sie kÖnnen sich gegenseitig Halt geben, also schlagen sie sich durch … Bis ein brutaler Angriff Kevins Leben erschÜttert und Peter kurz davor steht, wegen Mordes ins GefÄngnis zu mÜssen.