A photographic portrait of the headquarters of the company IG-Farben, a presently unoccupied building, which produced Zyklon B gas and later housed the administration of the American army of occupation between 1948 and 1995. Loewy, the photographer prowled around the empty monument, guided by chance occurences and by the light to tell the story in images of a bizarre haunted castle of modern times.

The remarkable rise and shameful fall of one of the twentieth century's greatest conglomerates At its peak in the 1930s, the German chemical conglomerate IG Farben was one of the most powerful corporations in the world. To this day, companies formerly part of the Farben cartel—the aspirin-maker Bayer, the graphics supplier Agfa, the plastics giant BASF—continue to play key roles in the global market. IG Farben itself, however, is remembered mostly for its infamous connections to the Nazi Party and its complicity in the atrocities of the Holocaust. After the war, Farben's leaders were tried for crimes that included mass murder and exploitation of slave labor. In Hell's Cartel, Diarmuid Jeffreys presents the first comprehensive account of IG Farben's rise and fall, tracing the enterprise from its nineteenth-century origins, when the discovery of synthetic dyes gave rise to a vibrant new industry, through the upheavals of the Great War era, and on to the company's fateful role in World War II. Drawing on extensive research and original interviews, Hell's Cartel sheds new light on the codependence of industry and the Third Reich, and offers a timely warning against the dangerous merger of politics and the pursuit of profit.

“Reads like a thriller . . . As timely as it is chilling and engrossing.”—#1 New York Times bestselling author Dean Koontz The Axmann Conspiracy is the previously untold true story of the Nazi threat that continued in the wake of World War II, the espionage that defeated it, and two fascinating men whose lives forever altered the course of post-war Germany. A trusted member of Hitler's inner circle, Artur Axmann, the head of the Hitler Youth (Hitlerjugend), witnessed the Führer commit suicide in his Berlin bunker—but he would not let the Reich die with its leader. He led a group of Nazis, including Martin Bormann, intent on escaping the encircling Red Army. Evading capture during the Battle of Berlin, and with access to remnants of the regime’s wealth, Axmann had enough adult followers to reestablish the Nazi party in the very heart of Allied-occupied Germany. U.S. Army Counter Intelligence Corps Officer Jack Hunter was the perfect undercover operative. Fluent in German, he posed as a black marketeer to root out Nazi sympathizers and saboteurs after the war, and along with other CIC agents uncovered the extent of Axmann’s conspiracy. It threatened to bring the Nazis back into power—and the task fell to Hunter and his team to stop it.

Drafted into the US Army in 1954, John S. Bowman was assigned to Frankfurt, Germany, where with other young Americans he produced a comic opera by the 18th-century Italian composer, Pergolesi. Its success led the Army’s Special Services to sponsor their “company’s” tour around US bases, and then to two more productions— Mozart’s Bastien und Bastienne and Bach’s Coffee Cantata--and also to US Information Agency-sponsored performances before German audiences. Working on his memoir to recapture those adventures and to convey what millions of Americans had experienced while serving in West Germany (1945-1990), Bowman came to realize that he had been participating in the so-called cultural Cold War, so he placed his personal story into the context of the astounding amount of US government sponsored cultural activities aimed at thwarting the appeal of Soviet Communism in Europe Not intended as an exposé, it is simply the most complete account of the incredible and sometimes hilarious “arsenal” of cultural weaponry deployed in the Cold War—an account that almost all Americans will find both amusing and astonishing.

Drawing on cinema and media studies, art history, American studies, and postcolonial studies, this innovative book offers a fresh way of thinking about Hollywood film aesthetics. It explores how eighteenth- and nineteenth-century Western colonial formations of vision influenced classical Hollywood film style, and thus provides a new and unique perspective on the origins of the cinematic gaze. Classical Hollywood cinema constructs global spaces as an imaginative dreamworld, subsuming geographical and cultural differences into utopian fantasy. Yet, this characteristically Hollywoodian aesthetic has rarely been explored in detail. How are such representations constructed within film texts? Is this utopian aesthetic really as uniform and transparent as it appears? What is its relationship to the United States' status as an imperial power? In The American Abroad, Anna Cooper explores how postwar Hollywood cinema adopted elements of British and French imperial visual culture, transforming them to suit a new United Statesian context. Cooper argues that four visual discourses in particular-the sublime, the ethnographic, the picturesque, and glamour-became building blocks in the development of a new American visual language.

In the aftermath of 9/11, lecturer Emily Cowan, called back into government service, revisits her past. Gathering intelligence as her own search for ethnic identity unfolds, Emily returns to the greatest game of all, as hidden in a desolate cave in the Afghan mountains is the reason the fight against terrorism must continue. “Circle Around The Sun” marks the fictional debut of Emily Cowan, a charismatic and often highly deviant legend in the making. With biting wit, candor and firsthand knowledge of her subject, M. D. Johnson has created a spy thriller masterpiece with a brilliant cast of characters.