Following on from the first volume, this book details the engrossing story of the two camera operators sent out to the Balkans by the American film producer Charles Urban, who had established his company in London in the early 20th century. The first of them, the Englishman Charles Rider Noble, filmed as many as 38 short living pictures in Bulgaria in 1903 and 1904. The second, the Scot John Mackenzie, travelled with his bioscope through Croatia, Montenegro, Bosnia and Herzegovina, Serbia, Bulgaria and Romania in 1905. Thus, thanks to the two Britons, the first sequences of films depicting the landscapes, historical and archaeological monuments, architectural landmarks, cultural traditions and ethnographic features of the region, as well as some of its public events of the time, were shown in the peninsula. This book provides an exciting trip ‘through savage Europe’, tracing the amazing adventures of its ‘main characters’ and their life paths to their very end. Therefore, it makes absorbing reading, while preserving its status as a unique scientific work, intended for film historians, early cinema researchers, film and television archives experts, college and university lecturers, students and schoolchildren. It will be of interest to everyone who, regardless of their age, loves the ‘Seventh Art’ and adores the secrets its early history still holds.

In the early 20th century, the American film producer Charles Urban, who had founded his company in London, sent two of his camera operators out to the Balkans. The Englishman Charles Rider Noble recreated moments from the uprising that had broken out in Macedonia (part of Turkey at that time) and filmed all over Bulgaria, while the Scot John Mackenzie travelled through Croatia, Montenegro, Bosnia and Herzegovina, Serbia, Bulgaria and Romania. As such, thanks to these two Britons, the first sequences of living pictures were filmed in the peninsula from 1903 to 1905. This book deals with this under-researched period, examining in depth, diligently and in detail over 1,200 sources of information (including newspaper reports, film catalogues, and archives). It will appeal to anyone who loves the 'Seventh Art' and adores the secrets its early history still holds.

In the early 20th century, the American film producer Charles Urban, who had founded his company in London, sent two of his camera operators out to the Balkans. The Englishman Charles Rider Noble recreated moments from the uprising that had broken out in Macedonia (part of Turkey at that time) and filmed all over Bulgaria, while the Scot John Mackenzie travelled through Croatia, Montenegro, Bosnia and Herzegovina, Serbia, Bulgaria and Romania. As such, thanks to these two Britons, the first sequences of living pictures were filmed in the peninsula from 1903 to 1905. This book deals with this under-researched period, examining in depth, diligently and in detail over 1,200 sources of information (including newspaper reports, film catalogues, and archives). It will appeal to anyone who loves the 'Seventh Art' and adores the secrets its early history still holds.

The acclaimed investigative reporter and author of Confronting Collapse examines the global forces that led to 9/11 in this provocative exposé. The attacks of September 11, 2001 were accomplished through an amazing orchestration of logistics and personnel. Crossing the Rubicon examines how such a conspiracy was possible through an interdisciplinary analysis of petroleum, geopolitics, narco-traffic, intelligence and militarism—without which 9/11 cannot be understood. In reality, 9/11 and the resulting "War on Terror" are parts of a massive authoritarian response to an emerging economic crisis of unprecedented scale. Peak Oil—the beginning of the end for our industrial civilization—is driving the elites of American power to implement unthinkably draconian measures of repression, warfare and population control. Crossing the Rubicon is more than a story of corruption and greed. It is a map of the perilous terrain through which we are all now making our way.

No End in Sight offers a critical analysis of Polish cinema and literature during the transformative late Socialist period of the 1970s and 1980s. Anna Krakus details how conceptions of time, permanence, and endings shaped major Polish artistic works. She further demonstrates how film and literature played a major role in shaping political consciousness during this highly-charged era. Despite being controlled by an authoritarian state and the doctrine of socialism, artists were able to portray the unsettled nature of the political and psychological climate of the period, and an undetermined future. In analyzing films by Andrzej Wajda, Krzysztof Kieslowsi, Krzysztof Zanussi, Wojciech Has, and Tadeusz Konwicki alongside Konwicki’s literary production, Anna Krakus identifies their shared penchant to defer or completely eschew narrative closure, whether in plot, theme, or style. Krakus calls this artistic tendency "aesthetic unfinalizability." As she reveals, aesthetic unfinalizability was far more than an occasional artistic preference or a passing trend; it was a radical counterpolitical act. The obsession with historical teleology saturated Polish public life during socialism to such a degree that instances of nonclosure or ambivalent endings emerged as polemical responses to official ideology.

All England cheered this modest American. He acquired his scouting lore warring against Apaches in Arizona. After hunting gold in the Northwest and the Klondike he rode deep into the savage territory of Africa to slay the M’Limo, treacherous Matabele high priest. During the Boer War he performed many thrilling exploits as chief of Scouts. He was honored in the friendship of Lord Roberts, Theodore Roosevelt, Cecil Rhodes, and Dr. Jameson and received the highest honors of the British Empire. In this book he tells in full detail the fascinating story of his thrilling and varied career. “In real life he is more interesting than any of my heroes of romance”—SIR RIDER HAGGARD “I have seldom been as much taken with a narrative”—REAR ADMIRAL WM. S. SIMS, U.S.N. “I have read it all with enthralled interest”—THEODORE ROOSEVELT “England was never made by her statesmen; England was made by her adventurers.”—GENERAL GORDON.