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In this book, 50 experts study the lives of U.S. veterans at work, at home, and in American society as they navigate issues regarding health, gender, public service, substance abuse, and homelessness. The aftermath of modern war includes a population of veterans whose needs last for many decades—far longer than the war itself. This in-depth study looks at life after the military, considering the dual conundrum of a population benefiting from the perks of their duty, yet continuing to deal with trauma resulting from their service, and of former servicemen and servicewomen trying to fit into civilian life—in a system designed to keep them separate. Through two comprehensive volumes, essays shed light on more than 30 topics involving or affecting former servicemen and servicewomen, offering a blueprint for the formal study of U.S. veterans in the future. Contributions from dozens of experts in the field of military science cover such issues as unemployment, homelessness, disability, access to higher education, health, media portrayal, criminal justice, substance abuse, guns, suicide, and politics. Through information gleaned from surveys, interviews, participant observations, secondary analyses, and content analyses, the chapters reveal how veterans are able to successfully contribute to civilian life and show how the American workforce can benefit from their unique set of skills.
This book focuses on the cultural and intellectual activities of Kurdish migrant women through artistic and aesthetic forms of production in Belgium, France, Germany, Sweden and the UK. Using in-depth interviews with over 40 Kurdish women artists, Ozlem Galip examines how artistic, literary and cultural productions, incorporating the fields of film, theatre and music, are articulated within the structures of nation states, leading to the interrogation of the impact of western and local knowledge, patriarchy, the nation-state and globalisation. Galip also analyses how European policies affect the development of cultural engagement of Kurdish migrant women, and how such engagements help these women to integrate into European society. Examining the gendered experiences of diaspora from all four regions of Kurdistan; Iraq, Iran, Syria and Turkey, this book challenges ideas about gender, migration and art through the lens of women artistic production with a focus on women-led activism and the changing integration and migration policies of Europe.
As indicated by the success of such films as March of the Penguins and Food, Inc., the documentary has become the preeminent format for rendering animals and nature onscreen. In Regarding Life, Belinda Smaill brings together examples from a broad array of moving image contexts, including wildlife film and television, advocacy documentary, avant-garde nonfiction, and new media to identify a new documentary terrain in which the representation of animals in the wild and in industrial settings is becoming markedly more complex and increasingly more involved with pivotal ecological debates over species loss, food production, and science. While attending to some of the most discussed documentaries of the last two decades, including Grizzly Man; Food, Inc.; Sweetgrass; Our Daily Bread; and Darwin's Nightmare, the book also draws on lesser-known film examples, and is one of the first to bring film studies understandings to new media such as YouTube. The result is a study that melds film studies and animal studies to explore how documentary films render both humans and animals, and to what political ends.
A Foreign Affairs Best Book of 2019 “It’s a small miracle that a writer as good as James Verini witnessed the battle of Mosul.… It will take its place among the very best war writing of the past two decades.” —George Packer James Verini arrived in Iraq in the summer of 2016 to write about life in the Islamic State. He stayed to cover the jihadis’ last great stand, the Battle of Mosul, not knowing it would go on for nearly a year. This “urgent, scalding, hallucinatory work of war reportage” (Patrick Radden Keefe) takes the reader into the conflict against the most lethal insurgency of our time.
NATIONAL BESTSELLER • A "gripping book about this extraordinary man who lived passionately and died unnecessarily" (USA Today) in post-9/11 Afghanistan, from the bestselling author of Into the Wild and Into Thin Air. In 2002, Pat Tillman walked away from a multimillion-dollar NFL contract to join the Army and became an icon of American patriotism. When he was killed in Afghanistan two years later, a legend was born. But the real Pat Tillman was much more remarkable, and considerably more complicated than the public knew. Sent first to Iraq—a war he would openly declare was “illegal as hell” —and eventually to Afghanistan, Tillman was driven by emotionally charged, sometimes contradictory notions of duty, honor, justice, and masculine pride, and he was determined to serve his entire three-year commitment. But on April 22, 2004, his life would end in a barrage of bullets fired by his fellow soldiers. Though obvious to most of the two dozen soldiers on the scene that a ranger in Tillman’s own platoon had fired the fatal shots, the Army aggressively maneuvered to keep this information from Tillman’s family and the American public for five weeks following his death. During this time, President Bush used Tillman’s name to promote his administration’ s foreign policy. Long after Tillman’s nationally televised memorial service, the Army grudgingly notified his closest relatives that he had “probably” been killed by friendly fire while it continued to dissemble about the details of his death and who was responsible. Drawing on Tillman’s journals and letters and countless interviews with those who knew him and extensive research in Afghanistan, Jon Krakauer chronicles Tillman’s riveting, tragic odyssey in engrossing detail highlighting his remarkable character and personality while closely examining the murky, heartbreaking circumstances of his death. Infused with the power and authenticity readers have come to expect from Krakauer’s storytelling, Where Men Win Glory exposes shattering truths about men and war. This edition has been updated to reflect new developments and includes new material obtained through the Freedom of Information Act.
An account of the author's experience in Iraq, presents photographs and commentary that convey the terror and exhilaration of photojournalism in an age of embedded reporting.
War Culture and the Contest of Images analyzes the relationships among contemporary war, documentary practices, and democratic ideals. Dora Apel examines a wide variety of images and cultural representations of war in the United States and the Middle East, including photography, performance art, video games, reenactment, and social media images. Simultaneously, she explores the merging of photojournalism and artistic practices, the effects of visual framing, and the construction of both sanctioned and counter-hegemonic narratives in a global contest of images. As a result of the global visual culture in which anyone may produce as well as consume public imagery, the wide variety of visual and documentary practices present realities that would otherwise be invisible or officially off-limits. In our digital era, the prohibition and control of images has become nearly impossible to maintain. Using carefully chosen case studies—such as Krzysztof Wodiczko’s video projections and public works in response to 9/11 and the wars in Iraq and Afghanistan, the performance works of Coco Fusco and Regina Galindo, and the practices of Israeli and Palestinian artists—Apel posits that contemporary war images serve as mediating agents in social relations and as a source of protection or refuge for those robbed of formal or state-sanctioned citizenship. While never suggesting that documentary practices are objective translations of reality, Apel shows that they are powerful polemical tools both for legitimizing war and for making its devastating effects visible. In modern warfare and in the accompanying culture of war that capitalism produces as a permanent feature of modern society, she asserts that the contest of images is as critical as the war on the ground.