Download Free The Politics Of Left Wing Violence In Italy 1969 85 Book in PDF and EPUB Free Download. You can read online The Politics Of Left Wing Violence In Italy 1969 85 and write the review.

This is an account of the nature and parabola of left-wing political violence that began in Italy in the late 1960s. It covers not only the patterns of recruitment, organization and activity among armed groups, but also the responses elicited from opponents in various contexts.
The author examines the factors which influence terrorists' target selection. In particular he looks at the influence of the ideologies, strategies and tactics of terrorist groups, and describes how these are restricted by the terrorists' resources, by protective and anti-terrorist measures, by the society within which the terrorists operate, and by the nature of the terrorists and their supporters. He concludes that terrorists' target selection is often both explicable and logical.
The aim of this book is to provide readers with the tools to understand the historical evolution of terrorism and counterterrorism over the past 150 years. In order to appreciate the contemporary challenges posed by terrorism it is necessary to look at its evolution, at the different phases it has gone through, and the transformations it has experienced. The same applies to the solutions that states have come up with to combat terrorism: the nature of terrorism changes but still it is possible to learn from past experiences even though they are not directly applicable to the present. This book provides a fresh look at the history of terrorism by providing in-depth analysis of several important terrorist crises and the reactions to them in the West and beyond. The general framework is laid out in four parts: terrorism prior to the Cold War, the Western experience with terrorism, non-Western experiences with terrorism, and contemporary terrorism and anti-terrorism. The issues covered offer a broad range of historical and current themes, many of which have been neglected in existing scholarship; it also features a chapter on the waves phenomenon of terrorism against its international background. This book will be of much interest to students of terrorism studies, political violence, international history, security studies and IR.
Blood in the Streets investigates the various ways in which 1970s Italian crime films were embedded in their immediate cultural and political contexts. The book analyses the emergence, proliferation and distribution of a range of popular film cycles (or filoni) - from conspiracy thrillers and vigilante films, to mafia and serial killer narratives - and examines what these reveal about their time and place. With industrial conditions geared around rapid production schedules and concentrated release patterns, the engagement in these films with both the contemporary political turmoil of 1970s Italy and the traumas of the nation's recent past offers a range of fascinating insights into the wider anxieties of this decade concerning the Second World War and its ongoing political aftermath.
The World Today Series: Western Europe is an annually updated presentation of each sovereign country in Western Europe, past and present. It is organized by individual chapters for each country expertly covering the region’s geography, people, history, political system, constitution, parliament, parties, political leaders and elections. The combination of factual accuracy and up-to-date detail along with its informed projections make this an outstanding resource for researchers, practitioners in international development, media professionals, government officials, potential investors and students. Now in its 37th edition, the content is thorough yet perfect for a one-semester introductory course or general library reference. Available in both print and e-book formats and priced low to fit student budgets.
For over thirty years, modern Italy was plagued by ransom kidnappings perpetrated by bandits and organized crime syndicates. Nearly 700 men, women, and children were abducted from across the country between the late 1960s and the late 1990s, held hostage by members of the Sardinian banditry, Cosa Nostra, and the ’Ndrangheta. Subjected to harsh captivities and psychological abuse, the victims spent months and even years in isolation while law enforcement and the state struggled to find them. Ransom Kidnapping in Italy examines this Italian criminal phenomenon. Alessandra Montalbano argues that abduction is a key vantage point from which to understand modern Italy: it troubled the law, terrified society, ignited juridical and parliamentary debates, and mobilized citizens. Bringing together archival and media materials with the victims’ accounts and diverse forms of cultural response, the book examines ransom kidnapping through the lenses of historiography, law, literary criticism, trauma studies, phenomenology, and political philosophy. Ransom Kidnapping in Italy traces how and at what price Italians became aware of living in a country that was being blackmailed by criminal organizations that arguably jeoparded the nation even more than terrorism.
Five essays address such themes as the relationship between feminist history and women's history, the use of the concept of "experience", the development of the history of gender, demographic history and women's history and the importance of post-structuralism to women's history.
Ever more popular in the age of DVDs, eBay and online fandom, the Spaghetti Westerns of the 1960s have undergone a mainstream renaissance which has nevertheless left their intimate relationship to the troubled politics of 1960s Italy unexamined. Radical Frontiers reappraises the genre in relation to the revolutionary New Left and the events of 1968 to uncover the complexities of a cinematic milieu too often dismissed as formulaic and homogeneous. Establishing the backdrop of post-war Italy in which the Roman studio system actively blended Italian and American culture, Austin Fisher looks in detail at the works of Damiano Damiani, Sergio Sollima, Sergio Corbucci, Giulio Questi and Giulio Petroni and how these directors reformatted the Hollywood Western to yield new resonance for militant constituencies and radical groups. Radical Frontiers identifies the main variants of these militant Westerns, which brazenly endorsed violent peasant insurrection in the 'Mexico' of the popular imagination, turning the camera on the hitherto heroic colonialists of the West and exposing the brutal mechanisms of a society infested with latent fascism. The ways in which the films' artistic failures reflect the ideological confusions of the radical groups is examined and the genre's legacy is reappraised, as the revolutionary energy of Italy's New Left becomes subsumed amidst the conflicting agendas of New Hollywood, blaxploitation and the 'grindhouse' revival of Tarantino, Rodriguez and Raimi. Reclaiming the Spaghetti Western from the domain of the merely cool and repositioning it within the spectrum of late-1960s radical cinema, Radical Frontiers analyses the genre's narrative and cinematographic inscriptions in their political context to uncover Far Left doctrines in these tales of outlaws and sheriffs, banditry and redemptive violence.
Contributions by Donald L. Anderson, Brian Brems, Eric Brinkman, Matthew Edwards, Brenda S. Gardenour Walter, Andrew Grossman, Lisa Haegele, Gavin F. Hurley, Mikel J. Koven, Sharon Jane Mee, Fernando Gabriel Pagnoni Berns, Émilie von Garan, Connor John Warden, and Sean Woodard The giallo (yellow) film cycle, characterized by its bloody murders and blending of high art and cinematic sleaze, rose to prominence in Italy in the 1960s and 1970s. Beginning with Mario Bava’s The Girl Who Knew Too Much (1963) and Dario Argento’s The Bird with the Crystal Plumage (1970), giallo films influenced the American slasher films of the 1980s and attracted an increasingly large fandom. In Bloodstained Narratives: The Giallo Film in Italy and Abroad, contributors explore understudied aspects of gialli. The chapters introduce readers to a wide range of films, including masterpieces from Argento and overlooked gems, all of them examined in close detail. Rather than understanding giallo as focalized exclusively in Italy in the 1970s, this collection explores the extension of gialli narratives abroad through different geographies and times. This book examines Italian gialli of the 1970s as well as American neo-gialli, French productions, Canadian horror films of the 1980s, and Asian rewritings of this “yellow” cycle of crime/horror films. Bloodstained Narratives also features interviews with two giallo film directors, including cult favorite Antonio Bido. Rather than fading from the cinematic stage, gialli serves as a precursor and steady accomplice to horror-thriller films through the twenty-first century.