Many anthropological accounts of warfare in indigenous societies have described the taking of heads or other body parts as trophies. But almost nothing is known of the prevalence of trophy-taking of this sort in the armed forces of contemporary nation-states. This book is a history of this type of misconduct among military personnel over the past two centuries, exploring its close connections with colonialism, scientific collecting and concepts of race, and how it is a model for violent power relationships between groups.

A “wide-ranging and thoughtful” (Wall Street Journal) exploration of the varied obsessions that the “civilized West” has had with decapitated heads and skulls. The human head is exceptional. It accommodates four of our five senses, encases the brain, and boasts the most expressive set of muscles in the body. It is our most distinctive attribute and connects our inner selves to the outer world. Yet there is a dark side to the head’s preeminence, one that has, in the course of human history, manifested itself in everything from decapitation to headhunting. So explains anthropologist Frances Larson in this fascinating history of decapitated human heads. From the Western collectors whose demand for shrunken heads spurred massacres to Second World War soldiers who sent the remains of the Japanese home to their girlfriends, from Madame Tussaud modeling the guillotined head of Robespierre to Damien Hirst photographing decapitated heads in city morgues, from grave-robbing phrenologists to skull-obsessed scientists, Larson explores our macabre fixation with severed heads.

Head Hunters in the Malayan Emergency investigates the infamous political scandal sparked after horrific photographs of war crimes during the Malayan Emergency were leaked to the British press. These photographs depicted British forces and their allies in Malaya scalping corpses and posing with decapitated human heads. The subsequent scandal, involving British generals, police, trade unions, and even Winston Churchill, led to the further discoveries that British forces had deployed over 1,000 men from Bornean headhunting tribes to Malaya, were publicly displaying corpses to terrify Malaya's civilian population into submission, and that photographs of such atrocities had become popular souvenirs among British troops. Using newly uncovered photographs, eyewitness accounts, and government documents, this research is the first ever attempt by any historian to create a complete history of the British-Malayan Headhunting Scandal, its political consequences, the stories of those involved, and its attempted cover-up.

From the author of Serial Killers: The Method and Madness of Monsters comes an in-depth examination of sexual serial killers throughout human history, how they evolved, and why we are drawn to their horrifying crimes. Before the term was coined in 1981, there were no "serial killers." There were only "monsters"--killers society first understood as werewolves, vampires, ghouls and witches or, later, Hitchcockian psychos. In Sons of Cain--a book that fills the gap between dry academic studies and sensationalized true crime--investigative historian Peter Vronsky examines our understanding of serial killing from its prehistoric anthropological evolutionary dimensions in the pre-civilization era (c. 15,000 BC) to today. Delving further back into human history and deeper into the human psyche than Serial Killers--Vronsky's 2004 book, which has been called the definitive history of serial murder--he focuses strictly on sexual serial killers: thrill killers who engage in murder, rape, torture, cannibalism and necrophilia, as opposed to for-profit serial killers, including hit men, or "political" serial killers, like terrorists or genocidal murderers. These sexual serial killers differ from all other serial killers in their motives and their foundations. They are uniquely human and--as popular culture has demonstrated--uniquely fascinating.

The treatment of cultural colonial objects is one of the most debated questions of our time. Calls for a new international cultural order go back to decolonization. However, for decades, the issue has been treated as a matter of comity or been reduced to a Shakespearean dilemma: to return or not to return. Confronting Colonial Objects seeks to go beyond these classic dichotomies and argues that contemporary practices are at a tipping point. The book shows that cultural takings were material to the colonial project throughout different periods and went far beyond looting. It presents micro histories and object biographies to trace recurring justifications and contestations of takings and returns while outlining the complicity of anthropology, racial science, and professional networks that enabled colonial collecting. The book demonstrates the dual role of law and cultural heritage regulation in facilitating colonial injustices and mobilizing resistance thereto. Drawing on the interplay between justice, ethics, and human rights, Stahn develops principles of relational cultural justice. He challenges the argument that takings were acceptable according to the standards of the time and outlines how future engagement requires a re-invention of knowledge systems and relations towards objects, including new forms of consent, provenance research, and partnership, and a re-thinking of the role of museums themselves. Following the life story and transformation of cultural objects, this book provides a fresh perspective on international law and colonial history that appeals to audiences across a variety of disciplines. This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

Southern Screens: Cinema, culture and the global South adopts a transversal south-south approach to the study of screen culture across national and cultural territories. It examines the conditions by which screen culture participates in the generation, sharing, and circulation of new knowledge that is both southern and about the global South. The contributors, all of them residents of the world’s southernmost nations, examine new and traditional media that manifests an affinity with southern cultural imaginaries and territories identifiable through the sociological category of "Global South." Some of their chapters engage in analysis linked to specific national contexts, others follow comparative approaches to screen culture across national, regional, and socio-historical borders. Sketching a new tapestry of references to other areas of southern social science and cultural theory, Southern Screens traces a critical genealogy that here finds a productive place within an emerging, comparative discussion of the screen cultures of the Global South. This book was originally published as a special issue of Critical Arts: South-North Cultural and Media Studies.