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Flagship Issue
£3.95 Flagship THE MAGAZINE FOR GAMERS Destiny 2002 PBM Ratings Awards Age of Steam Asheron's Call: Dark Majesty Battle of the Five Armies Boardgame Expansions DungeonWorld Legends: Head to Head Lords of the Earth StarFleet Warlord Games Galore! Women in Roleplaying Boardgames, Yahoo! Online Gaming D20 Roleplaying, Web Games, Conventions ... ... plus news from plus ... Essen 2002 Board Games, Roleplaying, Issue Zine Scene and Conventions ... 100 1983 - 2002 ... and all the gaming news, views & reviews! AUSTERLITZ The Rise of the Eagle THE No 1 NAPOLEONIC WARGAME AUSTERLITZ is the premier PBM & PBEM Napoleonic Wargame. An award winner all over Europe, unparalleled realism and accurate modelling of Europe’s armies make this a Total Wargaming Experience! Main Features of the Game Two elegant battle systems Blockades, coastal defence and realistically simulating strategic fleet actions involving the period’s and tactical warfare. major naval powers. Large scale three map action Austerlitz offers you the chance to encompassing both European and play the wargame of your dreams! Colonial holdings. Command Napoleonic armies of over 100 battalions in the field. Try Active political and diplomatic your strategy across all the old system which encourages grand battlefields of Europe and fight alliance and evil treachery! battles that history never saw! Austerlitz is the ultimate challenge; Sophisticated trade and economic a thinking man’s dream of world systems give authentic control of a domination. Napoleonic economy. Austerlitz is now playable fully by email at a reduced price. For details or for a FREE Information Pack contact: SUPERSONIC GAMES LTD PO BOX 1812, Galston, KA4 8WA Email: [email protected] Phone: 01563 821022 or fax 01563 821006 (Mon-Fri 9am –5.30pm) Report from FLAGSHIP #100 the Bridge December/ January '02-'03 100 not out! IN THIS ISSUE .. -
Introduction
Introduction This collection of essays and reviews follows right on from Anglo- English Attitudes. The last piece in that book was written in 1999; the earliest one here is from the same year. To be honest, nothing much has changed in the interim. I write about whatever happens to interest me, sometimes accepting commissions from editors, sometimes writing pieces and sending them in on spec. A decade from now, by which time I’ll be in my sixties, I hope to have enough new mate- rial to bring out a third volume. You see, I’ve got tenure on this pecu- liarly vacant chair – or chairs, rather. It’s a job for life; more accurately, it is a life, and hardly a day goes by without my marvelling that it is somehow feasible to lead it. As in the earlier collection, there’s no area of specialised concern or expertise; on the contrary, the pleasure, hopefully, lies in the pick ’n’ mix variety, the way one thing leads to another (often Quite different) thing. Actually, one thing has changed: in the last ten years I’ve been asked to contribute introductions to Quite a few books, either re - issued literary classics or photographic monographs and catalogues. I love doing this and am especially grateful to the editors who somehow got wind of the idea that I was interested in Rebecca West or Richard Avedon or whoever and gave me the chance to get between the covers of a shared volume with them. This seems to me the greatest privilege that can be afforded any reader (even if it slightly under- mines the idea of being – as I claim in a piece to be found later in this volume – a gatecrasher). -
Michael Kamber
Why Photography WHY PHOTOGRAPHY Michael Kamber I grew up in a time, in the 1960s and 70s, when photographs made a difference. My family got The Portland Press Herald every morning. There was always a black-and-white news image on the front page. This photo was a representation of an important event in the world from the previous day. Weekly news magazines, such as Time and Newsweek, were packed with photos too; I pored over them eagerly, occasionally cutting photos from their pages. They were my only links to far-off happenings in a distant world. The iconic photos of the civil rights movement in particular were burned into my consciousness. I studied the defiant marchers, snarling dogs, and pot-bellied Southern sheriffs with insouciant grins. Pictures from the Vietnam War changed my consciousness as well. We watched grainy clips on TV every evening. Yet it was the photos, rather than the news footage, that seared the deepest. I remember the photos and the photographers: Larry Burrow's color work from the field of battle, exhausted men and blood-stained ban- dages against the brown earth; Henri Huet, a French-Vietnamese As- sociated Press photographer, took pictures with the eye of a poet; the classic images that I would see again and again in my youth: Eddie Adams' Saigon execution photo; Nick Ut's picture of the napalmed girl running down Highway One. These photos were credited with 69 CREATIVE LIVES turning the American public against the war. These photos provided evidence of people's lives, their suffering, American foreign-policy failures; realities that needed to change. -
The 100 Greatest Military Photographs
The 100 Greatest Military Photographs From Military Times Publishing Company, insert to the 25 Sept 2000 issues of Army/Navy/AF Times No. 100 Robert Capa WWII No. 99 U.S. Navy Archives Pearl Harbor No. 98 Jacob Harris WWII No. 97 Ray Platnick WWII No. 96 David Turnley Operation Desert Storm No. 95 Charles Kerlee WWII No. 94 Christopher Morris USS Stark No. 93 Philip Jones Griffiths Vietnam, 1968 No. 92 Christopher Morris Persian Gulf War No. 91 U.S. Army Archives WWII, July 1944 No. 90 William Dinwiddle Rough Riders, 1898 No. 89 Brad Markel Andrews AFB, 1991 No. 88 Philadelphia Public Ledger WWI, Nov 1918 No. 87 Adrian Duff WWI, Sep 1918 No. 86 Stanley Tretick South Korea No. 85 U.S. Army Signal Corps Lt Gen George S. Patton No. 84 Robert Jakobsen Ca National Guard, 1940 No. 83 Wayne Miller WWII, 1944 No. 82 U.S. Army Air Force WWII, 1943 No. 81 U.S. Army Archives WWII, 1944 Paris, France No. 80 Peter Turnley “Highway of Doom” Persian Gulf War, 1991 No. 79 Hank Walker South Korea, 1950 No. 78 U.S. Marine Corps Vietnam No. 77 Steve Elfers Operation Desert Storm No. 76 Steve Elfers Operation Desert Storm No. 75 Bruno Barbey Persion Gulf War No. 74 Alexander Gardner Civil War, 1862 No. 73 Jeff Tuttle Operation Desert Shield No. 72 U.S. Army Archives WWII, 1943 Tarawa Atoll No. 71 Alfred Cooperman WWII, 1943 No. 70 Rich Mason Persian Gulf War No. 69 W. Eugene Smith Saipan, WWII No. 68 Larry Burrows Vietnam, 1966 Plane is a Douglas A–1 Skyraider No. -
1 the WARS of DON MCCULLIN Michel Guerrin & Alain Frachon
THE WARS OF DON MCCULLIN Michel Guerrin & Alain Frachon, "Les guerres de Don McCullin" Le Monde, 15 -19 August 2018, various pages. A suite of articles written for the summer edition of Le Monde by Michel Guerrin and Alain Frachon, journalists with Le Monde. DON MCCULLIN, PHOTOGRAPHER 1 | 6 From his poor childhood to his landscapes, passing through Vietnam, for this British master of photography, all is conflict. Le Monde went to visit him and retraces the journey which led him from the gangs of London to his fame. Batcombe, Somerset (UK) - Special correspondents The photographer closes the door of his darkroom – the room of his “ghosts.” It is from there which they emerge, the “ghosts,” from a prefabricated cabin behind the house. They come from four immaculate white bins – developer, bath, fiXer and wash. Beside these are the enlargers, and on shelves there are reams of paper, all of which float in a putrid smell of potassium iodide. “You know that almost everything happens here, in this darkroom,” says Donald McCullin: siXty years of photography of which eighteen were devoted to war. “Soon, I’m going to get rid of all of it. I am at the end of my journey.” It is hard to believe. This man risked a thousand deaths in wars. In 2016 again, he was in Iraq. He was injured in Cambodia, beaten up in prisons in Idi Amin Dada. A price was put on his head in Lebanon. In PalmyrA, Syria, only two years ago, his lung was pierced from a fall. “I paid a good price,” he says, but in half a century of reportage in the form of ‘eXtreme journalism’, McCullin was never K.O. -
HENRI HUET Photographe De La Guerre Du Vietnam
HENRI HUET Photographe de la guerre du Vietnam Henri Huet © AP Le 10 février 1971, le photographe français Henri Huet, qui travaillait pour l'agence américaine Associated Press depuis 6 ans (AP), disparaît : son hélicoptère est abattu par des tirs du Vietcong au-dessus du Laos. Les Vietcongs sont ravitaillés par la fameuse piste Ho Chi Minh qui, côté Laos, longe la frontière. En 1971, les américains décident d’envahir le Laos en envoyant les troupes sud-vietnamiennes. En même temps qu'Henri Huet, trois autres photographes ont péri dans l'attaque de son hélicoptère : le Japonais Keisaburo Shimamoto (Newsweek), l'Américain Kent Potter (United Press International), et le Britannique Larry Burrows, star du magazine Life. Dans le domaine du photojournalisme, les photos en noir et blanc d’Henri Huet de la guerre du Vietnam sont une référence pour les photographes d’aujourd’hui. A leur époque, elles ont changé la façon dont l’Amérique voyait la guerre. Elles eurent plus d’impact que les millions de mots qui emplissaient les journaux. Henri Huet était très à l’aise avec les soldats dans la jungle et dans la boue des marais "comme on va au bureau, au moins cinq jours par semaine, et cela chaque semaine", selon les mots de son collègue et ami Horst Faast. Il partageait leur détresse, jour et nuit. Les officiers demandaient souvent qu’on leur envoyât Henri car ils aimaient discuter avec lui. La compassion faisait partie de ses qualités et il savait la traduire en photographie. http://www.lintermede.com/exposition-henri-huet-guerre-du-vietnam-mep-maison-europeenne-de-la- photographie.php https://www.mep-fr.org/event/henri-huet/ Avant, pendant la seconde guerre mondiale, la photographie de la guerre était surtout le fait de militaires. -
{Dоwnlоаd/Rеаd PDF Bооk} Witchblade: Redemption: Volume 1 Pdf
WITCHBLADE: REDEMPTION: VOLUME 1 PDF, EPUB, EBOOK Stjepan Sejic,Ron Marz,Phil Smith,Filip Sablik | 160 pages | 25 Dec 2010 | Image Comics | 9781607061939 | English | Fullerton, United States Witchblade: Redemption - Volume 4 The Witchblade's power dates back to the beginning of time. But there have been other powers through the centuries, and some of them have merely slumbered, awaiting an awakening. Is Sara ready to face a foe that was old when the world was young? Join longtime writer Ron Witchblade Monsters in the sewers! Intrepid reporter Gretch is determined to get to the bottom of a story about monsters in the New York sewer system for the Twilight Alternative and of course, her sources lead back to Detective Sara Pezzini. With multiple accounts of the tale to sift through, the truth lies somewhere in between! Witchblade In , Marc Silvestri, Michael Turner, David Wohl, and Brian Haberlin created a new kind of comic heroine with the origin of Sara Pezzini, the latest in a long line of bearers of the mystical gauntlet known as the Witchblade. Witchblade created by Marc Silvestri, Isolated in a small town in upstate New York and charged to bring a dangerous killer to New York City for trail, Detective Patrick Gleason may be out of his depth. Somehow the killer has managed to slaughter almost all of the town's police force all while locked and chained inside a holding cell. It quickly becomes clear that the killer has some supernatural As the events of Artifacts push the world toward Armageddon, another threat appears in the form of Babylonian goddess Tiamat, who seeks vengeance upon current Witchblade bearer, Sara Pezzini, to settle an ancient score. -
ENGL 1102 Writing About Literature Readings Compiled, Annotated, and Edited by Rhonda L
ENGL 1102 Writing about Literature Readings Compiled, annotated, and edited by Rhonda L. Kelley Table of Contents Short Fiction ................................................................................................................................... 3 A Rose for Emily by William Faulkner ........................................................................................ 4 The Yellow Wallpaper by Charlotte Perkins Gilman ................................................................. 11 The Open Window by H. H. Munro (Saki) ............................................................................... 26 The Stranger by Katherine Mansfield ....................................................................................... 29 Guy de Maupassant, The Necklace ........................................................................................... 39 Edgar Allan Poe, The Tell-Tale Heart ....................................................................................... 46 Edgar Allan Poe, Cask of Amontillado ...................................................................................... 50 Edgar Allan Poe, The Masque of the Red Death ....................................................................... 56 Nathaniel Hawthorne, Young Goodman Brown ........................................................................ 61 Rappaccini's Daughter by Nathaniel Hawthorne ..................................................................... 73 Sir Arthur Conan Doyle, The Adventure of the Speckled Band ............................................... -
IMMF 13 Bios Photogs.Pdf (188
Index of photographers and artists with lot numbers and short biographies Anderson, Christopher (Canada) - Born in British Columbia 1971). He had been shot in the back of the head. in 1970, Christopher Anderson also lived in Texas and Colorado In Lots 61(d), 63 (d), 66(c), 89 and NYC. He now lives in Paris. Anderson is the recipient of the Robert Capa Gold Medal. He regularly produces in depth photographic projects for the world’s most prestigious publica- Barth, Patrick (UK) Patrick Barth studied photography at tions. Honours for his work also include the Visa d’Or in Newport School of Art & Design. Based in London, he has been Perpignan, France and the Kodak Young Photographer of the working since 1995 as a freelance photographer for publications Year Award. Anderson is a contract photographer for the US such as Stern Magazine, the Independent on Sunday Review, News & World Report and a regular contributor to the New Geographical Magazine and others. The photographs in Iraq York Times Magazine. He is a member of the photographers’ were taken on assignment for The Independent on Sunday collective, VII Agency. Review and Getty Images. Lot 100 Lot 106 Arnold, Bruno (Germany) - Bruno Arnold was born in Bendiksen Jonas (Norway) 26, is a Norwegianp photojournal- Ludwigshafen/Rhine (Germany) in 1927. Journalist since 1947, ist whose work regularly appears in magazines world wide from 1955 he became the correspondent and photographer for including GEO, The Sunday Times Magazine, Newsweek, and illustrated magazines Quick, Revue. He covered conflicts and Mother Jones. In 2003 Jonas received the Infinity Award from revolutions in Hungary and Egypt (1956), Congo (1961-1963), The International Centre of Photography (ICP) in New York, as Vietnam, Cambodia, Laos (1963-1973), Biafra (1969-1070), well as a 1st prize in the Pictures Of the Year International Israel (1967, 1973, 1991, 1961 Eichmann Trial). -
Abstract Democratic Oversight and Military
! Abstract Democratic Oversight and Military Autonomy: The U.S. Army’s Management of American Journalism, 1939-2004 Thomas Crosbie 2014 This dissertation investigates the historical development of the U.S. Army’s public affairs policy as a dimension of that organization’s domestic political strategy. I sketch key aspects of how changes in media technologies and the types of conflicts confronting militaries have shifted the burden of war within contemporary democratic polities. While the theory of a critical press has been challenged by several scholars, one key issue, the Army’s own role in shaping the relationship, has been largely overlooked. I believe this link helps explain the broader phenomenon of why some American reporters became unprecedentedly critical of their military during the Vietnam War. Each chapter in the dissertation addresses a pivotal moment in the history of the Army’s relationship with state and society. In the first chapter, I investigate the degree to which press work occupied the attention of the Army’s top soldier, Chief of Staff George C. Marshall, during the golden age of the military’s relations with the American public, World War II. In the second chapter, I provide a thick description of the collapse of the golden age paradigm in the first phase of the Vietnam War and the revitalizing of Army media management in the wake of the Tet Offensive in the second phase of the war. Finally, in the third chapter I analyze contemporary dynamics of military mediatization through the lens of scandal, focusing on the Abu Ghraib affair, the biggest scandal of the Global War on Terror. -
A Atuação De Jornalistas Mulheres Em Coberturas De Guerra
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO WOMEN’S ANGLE: A ATUAÇÃO DE JORNALISTAS MULHERES EM COBERTURAS DE GUERRA ANA CRISTINA DE MORAES VIVAS OSORIO RIO DE JANEIRO 2018 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS JORNALISMO WOMEN’S ANGLE: A ATUAÇÃO DE JORNALISTAS MULHERES EM COBERTURAS DE GUERRA Monografia submetida à Banca de Graduação como requisito para obtenção do diploma de Comunicação Social / Jornalismo. ANA CRISTINA DE MORAES VIVAS OSORIO Orientadora: Profa. Dra. Cristiane Henriques Costa RIO DE JANEIRO 2018 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO TERMO DE APROVAÇÃO A Comissão Examinadora, abaixo assinada, avalia a Monografia Women’s Angle: a atuação de jornalistas mulheres em coberturas de guerra, elaborada por Ana Cristina de Moraes Vivas Osorio. Monografia examinada: Rio de Janeiro, no dia . / . / . Comissão Examinadora: Orientadora: Profa. Dra. Cristiane Henriques Costa Doutora em Comunicação pela Escola de Comunicação – UFRJ Departamento de Comunicação – UFRJ Profa. Dra. Cristina Rego Monteiro da Luz Doutora em Comunicação e Cultura pela Escola de Comunicação – UFRJ Departamento de Comunicação – UFRJ Prof. Dr. Mohamed El Hajji Doutor em Comunicação e Cultura pela Escola de Comunicação – UFRJ Departamento de Comunicação – UFRJ FICHA CATALOGRÁFICA OSORIO, Ana Cristina de Moraes Vivas. Women’s Angle: a atuação de jornalistas mulheres em coberturas de guerra. Rio de Janeiro, 2018. Monografia (Graduação em Comunicação Social/ Jornalismo) – Universidade Federal do Rio de Janeiro – UFRJ, Escola de Comunicação – ECO. Orientadora: Cristiane Henriques Costa OSORIO, Ana Cristina de Moraes Vivas. Women’s Angle: a atuação de jornalistas mulheres em coberturas de guerra. -
Vietnam War Photos That Made a Difference by Richard Pyle Sep
Vietnam War Photos That Made a Difference By Richard Pyle Sep. 12, 2013 Sep. 12, 2013 12 A group of people are huddled together in a jungle clearing, some with arms reaching toward a light from above. At first glance, perhaps an allegorical painting from the age of da Vinci. But on closer examination, it’s a black and white photograph. The people are soldiers, and the divine deliverance they seek is a medevac helicopter, coming in to pick up wounded men. Given the subject matter, that image, by Art Greenspon, might never have made it past the censors of World War II, which was nearly into its third year before Americans first saw photos of dead G.I.’s on a Pacific beach. Today, it is on the cover of “Vietnam: The Real War,” a new history of America’s military and political misadventure in Southeast Asia, built around nearly 300 photo images from the archives of The Associated Press. More than a century after the first murky photographs of soldiers on horseback were made during the United States’ 1846-48 war with Mexico, the depiction of conflict by the camera finally came into its own in Vietnam. By then, the once-static snapshots of men in camps or posing with their cannons had become museum curiosities. Robert Capa had famously captured the image of a “falling soldier” in Spain’s civil war in 1936, and during the next decade photographers in World War II wielded their cumbersome Speed Graphics to record war from Europe to the Pacific. Joe Rosenthal’s hasty shot of Marines raising an American flag on a sulfurous island called Iwo Jima became the war’s best-known photograph, and a metaphor for the impending Allied victory.