Released in 1969, the film Battle of Britain went on to become one of the most iconic war movies ever produced. The film drew many respected British actors to accept roles as key figures of the battle, including Sir Laurence Olivier as Hugh Dowding and Trevor Howard as Keith Park. It also starred Michael Caine, Christopher Plummer and Robert Shaw as squadron leaders. As well as its large all-star international cast, the film was notable for its spectacular flying sequences which were on a far grander scale than anything that had been seen on film before. At the time of its release, Battle of Britain was singled out for its efforts to portray the events of the summer of 1940 in great accuracy. To achieve this, Battle of Britain veterans such as Group Captain Tom Gleave, Wing Commander Robert Stanford Tuck, Wing Commander Douglas Bader, Squadron Leader Bolesław Drobiński and Luftwaffe General Adolf Galland were all involved as consultants. This detailed description of the making of the film is supported by a mouth-watering selection of pictures that were taken during the production stages. The images cover not only the many vintage aircraft used in the film, but also the airfields, the actors, and even the merchandise which accompanied the film’s release in 1969 – plus a whole lot more. There are numerous air-to-air shots of the Spitfires, Messerschmitts, Hurricanes and Heinkels that were brought together for the film. There are also images that capture the moment that Battle of Britain veterans, some of whom were acting as consultants, visited the sets. Interviews with people who worked on the film, such as Hamish Mahaddie, John Blake and Ron Goodwin, among others, bring the story to life.

The duel, and the codes of honour that governed duelling, functioned for decades in many European and Latin American countries as a shadow legal system, regulating in practice what legislators felt free to say and what journalists felt free to write. Yet the duel was also an act of potentially deadly violence and a challenge to the authority of statutory law. When duelling became widespread in early twentieth-century Uruguay, legislators facing this dilemma chose the unique and radical path of legalization. The Pen, the Sword, and the Law explores how the only country in the world to decriminalize duelling managed the tension between these informal but widely accepted “gentlemanly laws” and its own criminal code. The duel, which remained legal until 1992, was meant to ensure civility in politics and decorum in the press, but it often failed to achieve either. Drawing on rich and detailed newspaper reports of duels and challenges, parliamentary debates, legal records, private papers, and interviews, David Parker examines the role of pistols and sabres in shaping the everyday workings of a raucous public sphere. Demonstrating that the duel was no simple throwback to archaic conceptions of masculine honour and chivalry, The Pen, the Sword, and the Law illustrates how duelling went hand in hand with democracy and freedom of the press in one of South America’s most progressive nations.

As world attention is renewed and refocused on the Israeli-Palestinian conflict at the sixtieth anniversary of its seminal year of 1948, Marda Dunsky takes a close look at how more than two dozen major American print and broadcast outlets have reported the conflict in recent years. Beginning with the failed Camp David summit of July 2000 through the waning of the second Palestinian uprising in the summer of 2004, she finds that the media omit two key contextual elements: the significant impact that U.S. policy has had and continues to have on the trajectory of the conflict, and the way international law and consensus have addressed the key issues of Israeli settlement and annexation policies and Palestinian refugees. Dunsky explores how reports of the conflict routinely take on the contours of American policy and rarely challenge the premises of this "Washington consensus." She also examines the media's responses to allegations of biased coverage and gauges the effect that mainstream news reporting has on public opinion and U.S. foreign policy.

The duel, and the codes of honour that governed duelling, functioned for decades in many European and Latin American countries as a shadow legal system, regulating in practice what legislators felt free to say and what journalists felt free to write. Yet the duel was also an act of potentially deadly violence and a challenge to the authority of statutory law. When duelling became widespread in early twentieth-century Uruguay, legislators facing this dilemma chose the unique and radical path of legalization. The Pen, the Sword, and the Law explores how the only country in the world to decriminalize duelling managed the tension between these informal but widely accepted “gentlemanly laws” and its own criminal code. The duel, which remained legal until 1992, was meant to ensure civility in politics and decorum in the press, but it often failed to achieve either. Drawing on rich and detailed newspaper reports of duels and challenges, parliamentary debates, legal records, private papers, and interviews, David Parker examines the role of pistols and sabres in shaping the everyday workings of a raucous public sphere. Demonstrating that the duel was no simple throwback to archaic conceptions of masculine honour and chivalry, The Pen, the Sword, and the Law illustrates how duelling went hand in hand with democracy and freedom of the press in one of South America’s most progressive nations.

The Pen and the Sword is the only comprehensive examination of how the media have covered the 21st century's #1 news story: terrorism and the wars in Afghanistan and Iraq. This is the full story-from 9/11 to the Obama doctrine-including

Prince, Pen, and Sword offers a synoptic interpretation of rulers and elites in Eurasia from the fourteenth to the eighteenth century. Four core chapters zoom in on the tensions and connections at court, on the nexus between rulers and religious authority, on the status, function, and self-perceptions of military and administrative elites respectively. Two additional concise chapters provide a focused analysis of the construction of specific dynasties (the Golden Horde and the Habsburgs) and narratives of kingship found in fiction throughout Eurasia. The contributors and editors, authorities in their fields, systematically bring together specialised literature on numerous Eurasian kingdoms and empires. This book is a careful and thought-provoking experiment in the global, comparative and connected history of rulers and elites.