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Punch and the Armenian massacres of 1894–1896
Leslie Rogne Schumacher

the ‘Metropolis of a Mighty Empire’ give a ‘forced cheer’ of ‘Glorious, By Jingo!’ for an imperial war machine bogged down by ruinous expenses. 46 A cartoon the following month had the Sultan attempting to persuade John Bull to let go of ‘Miss Egypt’ – here a robed beauty nestled into Bull's strong embrace – and allow her to ‘return to the arms of her loving Uncle’. 47 Another March cartoon by W. Alison Phillips depicted the Sultan reading from British poet William

in Comic empires
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Scott Wilson

). Superman? Superfly! The gangsta, therefore, has an uncanny proximity to supercapitalism. He assembles with his AK-47 and his production arsenal of beat box, samplers and sequencers, a mini-supercapitalist war machine. Like war itself, he becomes capitalism’s excess-essence, or rather its x-essence where, as with Malcolm X, the ‘X’ marks the unnameable inheritance of African lineage overwritten by slavery. ‘X’ marks the essential point of impossible African-American authenticity that resides imaginarily in the remnants of the civil-rights movement and collectivised

in Great Satan’s rage
Expurgating bodies, commodities and ideas, 1800–1870s
John Chircop

and personal belongings from contagious diseases, passengers were also expected to purify themselves through moral expurgation. Such had always been the case, since time immemorial, with cross-border rituals. Notes 1 G. Deleuze and F. Guattari, ‘Treaties on nomadology – the war machine’, in A Thousand Plateaus: Capitalism and Schizoprenia (London; New York: Continuum Publishing, 2004). 2 D. Palermo, ‘Introduzione, “Epidemie, Sanita” e controllo dei Confini’, Storia Urbana , 147, Anno XXXVIII (April–June, 2015), 5–8 ; l’Epidemia dei Messina del 1743

in Medicalising borders
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War and medicine in World War I Germany
Heather R. Perry

conditions of total mobilisation from 1914 to 1918. This process of medicalisation included both the militarisation of medicine as well as the militarisation of the disabled body in Germany’s first ‘total war’. Fundamental to these two developments, however, was the growing participation of medical ­professionals – in this instance orthopaedists – in the organisation of the modern ‘war machine’. As this book demonstrates, the so-called ‘recycling of the disabled’ was a direct result of the convergence of multiple war-time processes. Medicine and war Given the centrality of

in Recycling the disabled
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A. J. Coates

common moral sentiments and prejudices, so that ‘troops . . . slaughter thousands without a vestige of remorse’ (p. 333). Role-­playing 102 Images of war leads to moral evasion. In his new identity as ‘soldier’ the individual ceases to be bound by the duties that apply to ‘ordinary men’. Furthermore, the collective nature of war, whereby the individual operates as a tiny cog in the great war-­machine, erodes the sense of moral responsibility: ‘When such deeds are committed, there are so many instigators, participants, and abettors that no single individual feels

in The ethics of war
Steven Griggs
David Howarth

the first decade of the twenty-first century, averaging 12.9 per cent annual growth (AirportWatch, 2009b: 5). What is more, alongside the inexorable expansion of commercial aviation, there has also been a steady and considerable growth of military aviation. In important respects, commercial and military aviation have always been joined at the hip. Major spurs to technological innovation were brought about by the needs of war machines, while many commercial airports began their lives as military runways. The aerospace industry remains a critical part of aviation in

in The politics of airport expansion in the United Kingdom
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The rape of Europa
Katia Pizzi

as a point of departure to explore the extent and manners in which postwar Italian futurist artists deployed the machine as a vehicle – quite literally as in this particular case – of modernity. Dynamic engines of social and constructive engagement, pistons and carburettors of displacement, of re-envisioned times and spaces, machines are lodged at the core of the futurist belief in a totalitarian and utilitarian art. Especially after the First World War, machines become the very syntax and architecture of futurist aesthetics and ideology.2 Machines are objects in

in Italian futurism and the machine
The War on Terror and the resurgence of hillbilly horror after 9/11
Linnie Blake

thirty years, and one that that references amongst others Night of the Living Dead, Deliverance, The Texas Chainsaw Massacre, Dawn of the Dead, The Hills Have Eyes, Psycho, The Birds (1963), The Evil Dead (1982), Alien, The Exorcist (1973), Cujo (1983) and Donnie Darko (2002). Its most notable influence though is The Crazies, that allegory of Nixon’s involvement in Vietnam I considered in Chapter 3, a film that itself explored the invidious effects of propaganda on the American psyche and underscored the utter ruthlessness of the American war machine in the pursuit of

in The wounds of nations
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Steve Chibnall

began to pile in to the film. Considerations of the cinematic merits of I Aim at the Stars were completely overshadowed by its politics. Whatever his personal beliefs or scientific principles, von Braun’s expertise was thought to have helped to maintain the Nazi regime by enhancing its war machine. 19 Like Peter Burnup, an admirer of Lee Thompson’s cinema, reviewers found the film ‘hard to take’ ( News of the

in J. Lee Thompson
Steve Chibnall

Nazis for their ‘war machine’, from German-occupied Toulouse across the Pyrenees to Spain. The man trying to stop the escape is Gunther von Berkow (Malcolm McDowell), a psychopathic SS captain. If the film is remembered today, it is for the mad-eyed campness of McDowell’s performance. In his rendition of a sadist with a macabre sense of humour, McDowell goes beyond Clockwork Orange’s Alex and seems to be getting into

in J. Lee Thompson