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This book showcases the engravings made by U.S. soldiers on their lighters during the height of the conflict, from 1965 to 1973. Sherry Buchanan tells the fascinating story of how the Zippo became a talisman and companion for American GIs during their tours of duty. We see how Zippo lighters were used during the war, and we discover how they served as a canvas for both personal and political expression during the Age of Aquarius engraved with etchings and slogans steeped in all the rock lyrics, sound bites, combat slang, and antiwar mottos of the time.
More than 900 photographs with detailed text about the Vietnam War, its Zippo lighters, tips on collecting, and their current values are included in this book.
Based on a variety of classified military records, Lewy provides the first systematic analysis of the course of the Vietnam War, the reasons for the failure of American strategy and tactics, and the causes of the final collapse of South Vietnam.
Throughout the 1930s the Zippo Company in Pennsylvania prospered on the growing success of its stylish, charismatic little cigarette lighter. The lighter was made mostly of brass, but with the Second World War that metal was declared a ‘strategic material’ in the U.S. where huge amounts of it were needed for shell and cartridge casings. Zippo replaced the brass with steel, which can corrode, and wartime Zippos were given a new baked-on black ‘crackle’ finish to protect them. That non-reflective characteristic helped save the lives of many American soldiers in combat zones. The demand of the Armed Forces for the lighter led to the company to earmark its entire production for military. The big wartime market for the Zippo resulted in a rise of imitations. After the war, through subsequent conflicts in Korea, Vietnam and elsewhere, thousands of such phoneys appeared in boot sales and swap meets across the world. Movie stars added sophistication and glamor when someone lit up a cigarette with a Zippo and the distinctive ‘clink-clop’ sound the lighter made when opened and closed was unmatchable. Legend has it that the great star Bette Davis was once asked by an interviewer if she smoked after sex. Her supposed response: “To tell you the truth, I’ve never looked.” In later years- and a dark medical reality- the cigarette began losing its allure, but in wartime the soldier, sailor, marine and airman was frequently nervous in the service and found solace and a brief time-out-of-war in the relaxation of a quick smoke. Zippo was ready in such moments. Today many examples survive with a special history and caché. When Zippo Went to War is illustrated with more than 140 unpublished photos those unique little lighters of old. Like the remarkable Zippo itself, the book works well and sheds some new light on its subject.
Showcasing the engravings made by U.S. soldiers on their Zippo lighters during the height of the Vietnam conflict, from 1965 to 1973, this volume tells the fascinating story of how the humble Zippo became a talisman and companion for American GIs during their tours of duty.
Can filmed history measure up to written history? What happens to history when it is recorded in images, rather than words? Can images convey ideas and information that lie beyond words? Taking on these timely questions, Robert Rosenstone pioneers a new direction in the relationship between history and film. Rosenstone moves beyond traditional approaches, which examine the history of film as art and industry, or view films as texts reflecting their specific cultural contexts. This essay collection makes a radical venture into the investigation of a new concern: how a visual medium, subject to the conventions of drama and fiction, might be used as a serious vehicle for thinking about our relationship with the past. Rosenstone looks at history films in a way that forces us to reconceptualize what we mean by "history." He explores the innovative strategies of films made in Africa, Latin America, Germany, and other parts of the world. He journeys into the history of film in a wide range of cultures, and expertly traces the contours of the postmodern historical film. In essays on specific films, including Reds, JFK, and Sans Soleil, he considers such issues as the relationship between fact and film and the documentary as visionary truth. Theorists have for some time been calling our attention to the epistemological and literary limitations of traditional history. The first sustained defense of film as a way of thinking historically, this book takes us beyond those limitations.
Trench art is the evocative name given to a dazzling array of objects made from the waste of industrialized war. Each object, whether an engraved shell case, cigarette lighter or a pen made from shrapnel, tells a unique and moving story about its maker. For the first time, this book explores in-depth the history and cultural importance behind these ambiguous art forms. Not only do they symbolize human responses to the atrocities of war, but they also act as mediators between soldiers and civilians, individuals and industrial society, and, most importantly, between the living and the dead. Trench art resonates most obviously with the terror of endless bombardment, night raids, gas attacks and the bestial nature of trench life. It grew in popularity between 1919 and 1939 when the bereaved embarked on battlefield pilgrimages and returned with objects intended to keep alive the memory of loved ones. The term trench art is, however, misleading, as it does not simply refer to materials found in the trenches. It describes a diverse range of objects that have in some way emerged from the experience of war all over the world. Many distinctive objects, for example, were made during conflicts in Bosnia, Vietnam, Northern Ireland and Korea. Surprisingly, trench art predates World War I and it can be made in a number of earlier wars such as the Crimean War, the American Civil War, and the Boer War. Saunders looks at the broader issues of what is meant by trench art, what it was before the trenches and how it fits in with other art movements, as well as the specific materials used in making it. He suggests that it can be seen as a bridge between the nineteenth century certainties and the fragmented industrialized values and ideals of the modern world. This long overdue study offers an original and informative look at one of the most arresting forms of art. Spanning from 1800 to the present day, its analysis of art, human experience, and warfare will pave the way for new research.
Finalist, 2022 Ecocriticism Book Prize, Association for the Study of Literature and the Environment Shortlisted, 2020 Book Prize, Association for the Study of the Arts of the Present How do literature and other cultural forms shape how we imagine the planet, for better or worse? In this rich, original, and long awaited book, Jennifer Wenzel tackles the formal innovations, rhetorical appeals, and sociological imbrications of world literature that might help us confront unevenly distributed environmental crises, including global warming. The Disposition of Nature argues that assumptions about what nature is are at stake in conflicts over how it is inhabited or used. Both environmental discourse and world literature scholarship tend to confuse parts and wholes. Working with writing and film from Africa, South Asia, and beyond, Wenzel takes a contrapuntal approach to sites and subjects dispersed across space and time. Reading for the planet, Wenzel shows, means reading from near to there: across experiential divides, between specific sites, at more than one scale. Impressive in its disciplinary breadth, Wenzel’s book fuses insights from political ecology, geography, anthropology, history, and law, while drawing on active debates between postcolonial theory and world literature, as well as scholarship on the Anthropocene and the material turn. In doing so, the book shows the importance of the literary to environmental thought and practice, elaborating how a supple understanding of cultural imagination and narrative logics can foster more robust accounts of global inequality and energize movements for justice and livable futures.
This updated guide completely covers the antique market, listing over 60,000 prices and displaying 400+ photos to aid identification. Experts in the field give advice on the latest market trends, how to spot fakes and forgeries, and what to save when cleaning out the attic.
America's No. 1 Selling Price Guide For nearly 30 years, Antique Trader Antiques & Collectibles has been the leading source for information on antiques and collectibles. Filled with expert advice, vetted values and 4,500 color photographs, Antique Trader provides the clearest and most dependable picture of this amazingly diverse and magnificent market. Inside you will enjoy a variety of new collecting areas, as well as old favorites. Including: Asian art, bottles, ceramics, Civil War collectibles, clocks, comic books, cookie jars, figurines, furniture, glass, Hallmark Keepsake Ornaments, illustration art, kitchenware, perfume bottles, petroliana, toys, vintage clothing and Zippo lighters. Also new this year is Top Lots, a feature highlighting the bestselling results from some of the finest auction houses nationwide.