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Jon Steele is a war junkie. Soon after starting work as an ITN cameraman, he began to feel strangely at home in the kind of places ordinary people get evacuated from. Before long, he was living for the rush which comes as bullets fly past your head and bombs explode at your feet. Normal life just couldn't compete... In Georgia, Jon filmed on the last flight out of the besieged airport at Sokhumi, as the plane took off in the dead of night, all lights extinguished, going the wrong way down the runway, directly towards the nearby steep and virtually invisible mountain range while Abkhazian soldiers fired off random anti-aircraft shells in their general direction. In Moscow, he filmed in the midst of chaos as armed rebels and Militia fought bloodthirsty, hand-to-hand battles on the streets around him. In Rwanda, he filmed the horrific aftermath to the most brutal massacre of modern times - and his own neck got far too close to the edge of a machete for comfort. In Zaire, he filmed endless fields full of young children deranged by hunger and ravaged by cholera. In Bosnia, Jon realised that he had, in fact, seen and filmed more than he could cope with, and finally spiralled out of control, deep into emotional meltdown. But somehow War Junkie is also an incredibly funny and exhilarating book. The humour is dark but sharp as broken glass. The action comes so thick and fast you can forget to breathe. War Junkie is shocking, hilarious, deeply moving and, ultimately, it packs a powerful psychological punch. It will challenge everything you thought you knew about modern warfare as it shines an unforgiving spotlight into some of the darkest recesses of recent history.
Outstanding Academic Title for 2007, Choice Magazine As journalists in Iraq and other hot spots around the world continue to face harrowing dangers and personal threats, neuropsychiatrist Anthony Feinstein offers a timely and important exploration into the psychological damage of those who, armed only with pen, tape recorder, or camera, bear witness to horror. Based on a series of recent studies investigating the emotional impact of war on the profession, Journalists under Fire breaks new ground in the study of trauma-related disorders. Feinstein opens with an overview of the life-threatening hazards war reporters face—abductions, mock executions, the deaths of close colleagues—and discusses their psychological consequences: post-traumatic stress disorder, depression, deterioration of personal relationships, and substance abuse. In recounting the experiences of reporters who encounter trauma on the job, Feinstein observes that few adequate support systems are in place for them. He tells the stories of media veterans who have "seen it all," only to find themselves and their employers blindsided by psychological aftershocks. The book explores the biological and psychological factors that motivate journalists to take extraordinary risks. Feinstein looks into the psyches of freelancers who wade into war zones with little or no financial backing; he examines the different stresses encountered by women working in a historically male-dominated profession; and he probes the effects of the September 11 attacks on reporters who thought they had sworn off conflict reporting. His interviews with many of this generation's greatest reporters, photographers, and videographers often reveal extraordinary resilience in the face of adversity. Journalists under Fire is a look behind the public persona of war journalists at a time when the profession faces unprecedented risk. Plucking common threads from disparate stories, Feinstein weaves a narrative that is as fascinating to read as it is sobering to contemplate. What emerges are unique insights into lives lived dangerously.
Owen W. Gilman Jr. stresses the US experience of war in the twenty-first century and argues that wherever and whenever there is war, there will be imaginative responses to it, especially the recent wars in Afghanistan and Iraq. Since the trauma of September 11, the experience of Americans at war has been rendered honestly and fully in a wide range of texts--creative nonfiction and journalism, film, poetry, and fiction. These responses, Gilman contends, have packed a lot of power and measure up even to World War II's literature and film. Like few other books, Gilman's volume studies these new texts-- among them Kevin Powers's debut novel The Yellow Birds and Phil Klay's short stories Redeployment, along with the films The Hurt Locker, American Sniper, and Billy Lynn's Long Halftime Walk. For perspective, Gilman also looks at some touchstones from the Vietnam War. Compared to a few of the big Vietnam books and films, this new material has mostly been read and watched by small audiences and generated less discussion. Gilman exposes the circumstances in American culture currently preventing literature and film of our recent wars from making a significant impact. He contends that Americans' inclination to demand distraction limits learning from these compelling responses to war in the past decade. According to Gilman, where there should be clarity and depth of knowledge, we instead face misunderstanding and the anguish endured by veterans betrayed by war and our lack of understanding.
Violentologies explores how different forms of violence shape identity and political vision in both familiar and unexpected ways using Latina/o writers and performers as case-studies.
The war on drugs has long since lost any illusion of success. It is currently entering its second century of active combat, and drugs are cheaper and more abundant each year the war continues. Before 1914, drugs were legal in the United States. Heroin, cocaine, and morphine could be purchased at the corner store, and those who used drugs were generally contributing members of society. It wasn't until drugs were outlawed that all the problems began. Humans are drug-using creatures. We have always loved to get high, and we always will. All attempts to restrict drugs have thus far failed, and no penalty is harsh enough to prevent users from using. The war has resulted in little more than dangerous conditions for drug users. We must contend with risky street markets, polluted products, fake drugs, unsanitary conditions, and the violence which often accompanies underworld commodities. But there is a better way. Dr. Junkie is a roadmap for explaining how we got here, as well as how we can get out.
'Undoubtedly the most powerful and immediate book to emerge from the Balkan horror of ethnic civil war' Antony Beevor, Daily Telegraph In 1993, Anthony Loyd hitchhiked to the Balkans hoping to become a journalist. Leaving behind him the legends of a distinguished military family, he wanted to see 'a real war' for himself. In Bosnia he found one. The cruelty and chaos of the conflict both appalled and embraced him; the adrenalin lure of the action perhaps the loudest siren call of all. In the midst of the daily life-and-death struggle among Bosnia's Serbs, Croats and Muslims, Loyd was inspired by the extraordinary human fortitude he discovered. But returning home he found the void of peacetime too painful to bear, and so began a longstanding personal battle with drug abuse. This harrowing account shows humanity at its worst and best. It is a breathtaking feat of reportage; an uncompromising look at the terrifyingly seductive power of war. 'As good as reporting gets. I have nowhere read a more vivid account of frontline fear and survival. Forget the strategic overview. All war is local' Martin Bell, The Times
This edited book provides an interdisciplinary, state-of-the-art overview of the growing phenomenon of private military companies.
As the son of WW II-era parents, journalist Joe Sacco was heavily affected by the plight of people around the world forced from their homes while under foreign occupation. His Palestine series of comic books won the National Book Award in 1996, and his Safe-Area Gorazde and The Fixer have earned him a unique place in the world of comics and graphic novels. This book is an intriguing look at a popular writer and includes numerous examples of his color and black-and-white illustrations.
This book brings together an international group of scholars who chart and analyze the ways in which comic book history and new forms of graphic narrative have negotiated the aesthetic, social, political, economic, and cultural interactions that reach across national borders in an increasingly interconnected and globalizing world. Exploring the tendencies of graphic narratives - from popular comic book serials and graphic novels to manga - to cross national and cultural boundaries, Transnational Perspectives on Graphic Narratives addresses a previously marginalized area in comics studies. By placing graphic narratives in the global flow of cultural production and reception, the book investigates controversial representations of transnational politics, examines transnational adaptations of superhero characters, and maps many of the translations and transformations that have come to shape contemporary comics culture on a global scale.