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Abstract only
Thomas Hennessey

1 Invasion Invasion B y mid-1950 the Grand Alliance of Great Britain, the United States and the Soviet Union, that had defeated the Third Reich in 1945 had collapsed into two armed camps of East and West. On the one side stood the democracies of Britain and the United States, defending the recovering countries of Western Europe; and, on the other, stood the Soviet dominated states of Eastern Europe. As Winston Churchill had expressed it, an Iron Curtain had fallen across the continent. Of the Big Three wartime leaders who had been in office when their country

in Britain’s Korean War
Rowland Atkinson and Sarah Blandy

4 Invasions of privacy In the previous chapter, we examined the Janus-faced nature of the home as a source of anxieties, bound up with the fabric of domestic life as a site of everyday refuge. Here we turn to the wide range of external threats that challenge and undermine the attributes connected with home ownership in terms of its offer of relative security, control, privacy, status and wealth. This chapter explores perceived threats to the home ranging from the powers of the state to problematic neighbours and other invasions of privacy. We look at these risks

in Domestic fortress
Stephen Benedict Dyson

Considered in isolation from what came later, the invasion plan for Iraq was daring in conception, achieved its goals with stunning speed and at low cost, and represented a sparkling advertisement for Rumsfeld’s vision of a light, fast army. Planning saw close interaction between Rumsfeld and Gen. Tommy Franks, showing the positive potential of Rumsfeld’s leadership style

in Leaders in conflict
Piers Robinson, Peter Goddard, Katy Parry, Craig Murray, and Philip M. Taylor

4 Placing coverage of the invasion in context Overview In order to place British coverage of the invasion in context, this chapter offers brief summaries of the structure and character of Britain’s television news services and its press. It is also important to offer a context for understanding the events surrounding the invasion itself. In the latter part of this chapter, we summarise key events in the run-up to the invasion, its main combat phase and its aftermath. ‘Serving the public’: the character of British television news British television is founded on

in Pockets of resistance
Jessica Lynch, Ali Abbas and the anti- war movement
Piers Robinson, Peter Goddard, Katy Parry, Craig Murray, and Philip M. Taylor

7 Case studies from the invasion of Iraq: Jessica Lynch, Ali Abbas and the anti-war movement Introduction Here we provide a focused analysis of three case studies, which serve to represent the three differing modes of news media performance in wartime, as well as shedding more light on the news-making process. The Jessica Lynch case study, involving the ‘dramatic’ rescue of a US ‘prisoner of war’, highlights just how compliant and deferential news media can be in wartime and can be viewed as an ‘ideal type’ example of supportive coverage. The case of Ali Abbas

in Pockets of resistance
Abstract only
Susan Hiller and Alexandra Kokoli

5 Invasions and fakes Susan Hiller in conversation with Alexandra Kokoli Alexandra Kokoli: Your most recent work that explicitly addresses spiritualism and technology is Auras: Homage to Marcel Duchamp [2008], an installation of photographic portraits with ‘auras’, clouds of colourful light surrounding and sometimes partly covering the faces of the people photographed. Susan Hiller: Yes, and I also collected them into a little book [Auras], alongside Levitations: Homage to Yves Klein [ICA/ Book Works, 2008]. These portraits illustrate, I think, the old

in The machine and the ghost
Julieann Ulin

. This chapter concentrates on two of Le Fanu’s vampires, arguing that they enact not only a spatial invasion but a temporal one that brings Ireland’s medieval history to bear on Le Fanu’s nineteenth-century texts. As a writer, Le Fanu was never concerned only with contemporary Irish events. He begins as an Irish historical novelist with The Cock and the Anchor (1845), The Fortunes of Colonel

in Open Graves, Open Minds
Gothic Dissent in Dennis Potter‘s Cold Lazarus
Val Scullion

This article uses Franco Moretti‘s interpretation of Frankenstein and Dracula (Signs Taken For Wonders, 1988) to interrogate Dennis Potter‘s final television play, Cold Lazarus (1996). The critical approach, following Moretti‘s example, is generic, Freudian and Marxist. By identifying the conventions of Gothic drama in Potter‘s play, it claims, firstly, that Cold Lazarus dramatizes deep-seated psychic neuroses; and secondly, alerts its viewers to contemporary cultural anxieties about individual autonomy and the exploitative nature of capitalist enterprise. The argument challenges the predominantly negative reception of Cold Lazarus when first screened in 1994 and aims to defend this play as a fine example of televisual Gothic drama.

Gothic Studies
Eric James and Tim Jacoby

.1 ( Gregorian 1969 , Dupree 1980 , Rubin 1995 , Rashid 2001 , Ewans 2001 , Tanner 2003 ). The purpose of this chapter is not to provide a similarly general account of Afghanistan’s past, but to focus on the history of the military–humanitarian relationship prior to the 2001 invasion. It uses the framework developed in Chapter 3 in analyzing the recent history of Afghanistan

in The military-humanitarian complex in Afghanistan
Bulletin of the John Rylands Library