In Cold War historiography, the 1960s are often described as a decade of mounting diplomatic tensions and international social unrest. At the same time, they were a period of global media revolution: communication satellites compressed time and space, television spread around the world, and images circulated through print media in expanding ways. Examining how U.S. policymakers exploited these changes, this book offers groundbreaking international research into the visual media battles that shaped America's Cold War from West Germany and India to Tanzania and Argentina.

This volume considers the meaning and power of images in African history and culture. It assembles a wide-ranging collection of essays dealing with specific visual forms, including monuments cinema, cartoons, domestic and professional photography, body art, world fairs, and museum exhibits.

Coinciding with the extraordinary expansion of Britain's overseas empire under Queen Victoria, the invention of photography allowed millions to see what they thought were realistic and unbiased pictures of distant peoples and places. This supposed accuracy also helped to legitimate Victorian geography's illuminations of the "darkest" recesses of the globe with the "light" of scientific mapping techniques. But as James R. Ryan argues in Picturing Empire, Victorian photographs reveal as much about the imaginative landscapes of imperial culture as they do about the "real" subjects captured within their frames. Ryan considers the role of photography in the exploration and domestication of foreign landscapes, in imperial warfare, in the survey and classification of "racial types," in "hunting with the camera," and in teaching imperial geography to British schoolchildren. Ryan's careful exposure of the reciprocal relation between photographic image and imperial imagination will interest all those concerned with the cultural history of the British Empire.

Film producer Charles Robert Band is one of the last great B-movie survivors - a genuine pioneer who, over four decades, forged such a unique path through the no man's land of independent genre cinema that many thought him more than capable of seizing legendary indie producer Roger Corman's long-held crown as 'King of the B Movies.' The 1970s through to the late 1980s was the last great 'golden age' for the B-movie community, and with a non-stop series of grind house classics like 'Laserblast', 'Parasite', 'Re-Animator' and 'Dolls' for his company Empire Pictures, it was also the era that saw Charles Band take his rightful place in the indie hall of fame as the true Emperor of the 'B's. This is Band's officially-authorised helter-skelter story, and that of the mad company he kept

At the Images of Empire colloquium held in Sheffield in 1990, an international team of scholars met to explore some of the conflicting images generated by the Roman Empire. The articles reflect interests as diverse as those of the scholars themselves: Roman history and archaeology, Jewish Studies, Dead Sea Scrolls, New Testament and Patristics are all represented. All are focused on a single theme, the importance of which is increasingly recognized, not only for the historian, but for everyone interested in the political complexities of our post-imperial world.

The KKK remains one of the US's most secretive organisations but photojournalist Anthony S. Karen transcended that secrecy when he got the opprtunity to photograph a KKK ceremony. Since then, he has documented the organisation throughout the US. Taken with unrestricted access, the reader is drawn deep inside this private white nationalist organisation and introduced to a detailed visual account of modern day Klan life. Included are candid shots of rallies, portraits of Klansmen and a look at the naturalisation process for new members.