This collection of essays asks the question "What is history?" and considers how history is shaped in different socioeconomic contexts. The writers take a transdisciplinary approach, in the belief that everyone who deals with history--including professional historians, novelists, and poets--constructs narratives of the past to make sense of the present as well as to determine their future courses of action. With contributions from a variety of specialists in media studies, literature, history and anthropology, this book breaks new ground in adaptation studies.

Hindenburg reveals how a previously little-known general, whose career to normal retirement age had provided no real foretaste of his heroic status, became a national icon and living myth in Germany after the First World War, capturing the imagination of millions. In a period characterized by rupture and fragmentation, the legend surrounding Paul von Hindenburg brought together a broad coalition of Germans and became one of the most potent forces in Weimar politics. Charting the origins of the myth, from Hindenburg's decisive victory at the Battle of Tannenberg in 1914 to his death in Nazi Germany and beyond, Anna von der Goltz explains why the presence of Hindenburg's name on the ballot mesmerized an overwhelming number of voters in the presidential elections of 1925. His myth, an ever-evolving phenomenon, increasingly transcended the dividing lines of interwar politics, which helped him secure re-election by left-wing and moderate voters. Indeed, the only two times in German history that the people could elect their head of state directly and secretly, they chose this national icon. Hindenburg even managed to defeat Adolf Hitler in 1932, making him the Nazi leader's final arbiter; it was he who made the final and fateful decision to appoint Hitler as Chancellor in January 1933.

Offering a broad and vivid survey of the culture of collecting from the French Revolution to the Belle Époque, The Purchase of the Past explores how material things became a central means of accessing and imagining the past in nineteenth-century France. By subverting the monarchical establishment, the French Revolution not only heralded the dawn of the museum age, it also threw an unprecedented quantity of artworks into commercial circulation, allowing private individuals to pose as custodians and saviours of the endangered cultural inheritance. Through their common itineraries, erudition and sociability, an early generation of scavengers established their own form of 'private patrimony', independent from state control. Over a century of Parisian history, Tom Stammers explores collectors' investments – not just financial but also emotional and imaginative – in historical artefacts, as well as their uncomfortable relationship with public institutions. In so doing, he argues that private collections were a critical site for salvaging and interpreting the past in a post-revolutionary society, accelerating but also complicating the development of a shared national heritage.

Truly Criminal showcases a group of highly regarded writers who all share a special passion for crime, reflected in this superb collection of essays re-examining some of the most notorious cases from British criminal history. Contributors are all members of the Crime Writers' Association (CWA), including leading novelists Peter Lovesey, Andrew Taylor and Catherine Aird (winner of 2015 CWA Diamond Dagger). There is also a bonus essay by the late great Margery Allingham about the controversial William Herbert Wallace case, which has only recently been rediscovered. Among the real-life crimes explored in the book are the cases of Samuel Herbert Dougal, the Moat Farm murderer, George Joseph Smith, the 'brides in the bath' killer and Catherine Foster, who murdered her husband with poisoned dumplings – some of the most infamous killers in British history. With a foreword by international best-selling author Peter James, this collection demonstrates the art of 'true crime' writing at its very best.

The Multilingual Screen is the first edited volume to offer a wide-ranging exploration of the place of multilingualism in cinema, investigating the ways in which linguistic difference and exchange have shaped, and continue to shape, the medium's history. Moving across a vast array of geographical, historical, and theoretical contexts-from Japanese colonial filmmaking to the French New Wave to contemporary artists' moving image-the essays collected here address the aesthetic, political, and industrial significance of multilingualism in film production and reception. In grouping these works together, The Multilingual Screen discerns and emphasizes the areas of study most crucial to forging a renewed understanding of the relationship between cinema and language diversity. In particular, it reassesses the methodologies and frameworks that have influenced the study of filmic multilingualism to propose that its force is also, and perhaps counterintuitively, a silent one. While most studies of the subject have explored linguistic difference as a largely audible phenomenon-manifested through polyglot dialogues, or through the translation of monolingual dialogues for international audiences-The Multilingual Screen traces some of its unheard histories, contributing to a new field of inquiry based on an attentiveness to multilingualism's work beyond the soundtrack.