This chapter shows how important visual culture and portraiture in particular was, not only to Chartism, but to other radical movements. Although the torrent of pro-reform prints published between 1830 and 1832 is usually regarded as the last outpouring of the single-sheet caricature tradition, a radical brand of caricature flourished in the 1830s, much of it produced by Charles Jameson Grant. The most important reason for the waning of radical caricature was the advantages offered to radicals by portraiture, which was valued for its ability to project a positive image and identity. Portraits allowed a positive projection of individuals and through them political movements. Although portraiture and caricature are opposites in theory, in practice the gap between the two diminished in this period as politicians were more 'realistically' and respectfully portrayed in political cartoons and other visual media.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.