The French battleships of the Dunkerque and Richelieu classes were the most radical and influential battleship designs of the interwar period, and were coveted by the British, German and Italian navies following the Armistice of June 1940. Using a wealth of primary-source material, some of which has only recently been made available, the authors provide a full account of their development and a detailed analysis of their design characteristics. The technical chapters are interspersed with operational histories, with a particular focus on the operations in which the ships engaged other heavy units. The book is extensively illustrated with hundreds of photographs and technical drawings, including twenty-two color profile and plan views of the ships.

The French produced some of the most striking and innovatory interwar cruiser designs. A large amount of new information about these ships has become available over the past twenty years in France, but this book is the first to make this accessible to an English-speaking readership. Part I explains the design philosophy behind each of the classes built after 1922, and outlines the characteristics of each type, accompanied by detailed data tables and a comprehensive set of specially-drawn plans based on official documents, as well as carefully-selected photographs. Coverage includes the De Grasse, laid down in August 1939 and completed postwar as an AA cruiser, and also the heavy cruisers of the Saint Louis class intended to follow her, about which little has been published. Part II deals with the historical side, covering not only the eventful careers of these ships, but also explaining the peacetime organisation of the Marine Nationale, the complex politics of this turbulent period and their impact on the navy. Like its highly successful predecessor, French Battleships, this beautifully presented book subtly blends technical and historical analysis to produce what must become the standard reference work.

This illustrated naval history presents a comprehensive study of French battleships constructed after the Washington Naval Treaty of 1922. The French battleships of the Dunkerque and Richelieu classes were the most radical and influential battleship designs of the interwar period, and were coveted by the British, German and Italian navies following the Armistice of June 1940. Using a wealth of primary-source material, this volume provides a full account of their development and a detailed analysis of their design characteristics. The technical chapters are interspersed with operational histories, with a particular focus on the operations in which the ships engaged other heavy units. The book is extensively illustrated with hundreds of photographs and technical drawings, including twenty-two color profile and plan views of the ships. An introductory chapter provides additional historical context with an overview of French naval craft from the Dreadnaught era through the First World War.

On September 1, 1910, France became the last great naval power to lay down a dreadnought battleship, the Courbet. The ensuing Courbet and Bretagne-class dreadnoughts had a relatively quiet World War I, spending most of it at anchor off the entrance to the Adriatic, keeping watch over the Austro-Hungarian fleet. The constraints of the Washington Naval Treaty prevented new battleships being built until the 1930s, with the innovative Dunkerque-class and excellent Richelieu-class of battleships designed to counter new German designs. After the fall of France in 1940, the dreadnoughts and fast battleships of the Marine Nationale had the unique experience of firing against German, Italian, British, and American targets during the war. This authoritative study examines these fascinating ships, using detailed colour plates and historical photographs, taking them from their inception before World War I, through their service in World War II including the scuttling of the French fleet at Toulon in 1943, and the service of Richelieu in the war against Japan.

Between the world wars, France produced some of the largest and fastest destroyers in the world. Known as Contre-Torpilleurs, these striking and innovative super-destroyers and the more conventional Torpilleurs d’Escadre are the focus of this book. The first part of the book covers the design of these ships, pairing the text with detailed data tables, specially-drawn plans and schemas, and photographs of the ships. The second half details the eventful careers of these ships and contains contemporary photographs and maps commissioned specifically for this book.

A technical analysis and pictorial history of the French navy cruisers built in the early to mid-twentieth century. The French produced some of the most striking and innovatory interwar cruiser designs. A large amount of new information about these ships has become available over the past twenty years in France, but this book is the first to make this accessible to an English-speaking readership. Part I explains the design philosophy behind each of the classes built after 1922, and outlines the characteristics of each type, accompanied by detailed data tables and a comprehensive set of specially-drawn plans based on official documents, as well as carefully-selected photographs. Coverage includes the De Grasse, laid down in August 1939 and completed postwar as an AA cruiser, and also the heavy cruisers of the Saint Louis class intended to follow her, about which little has been published. Part II deals with the historical side, covering not only the eventful careers of these ships, but also explaining the peacetime organization of the Marine Nationale, the complex politics of this turbulent period and their impact on the navy. Like its highly successful predecessor, French Battleships, this beautifully presented book subtly blends technical and historical analysis to produce what must become the standard reference work. Praise for French Cruisers “A clearly-written and excellently presented book which, particularly with respect to its technical descriptions, explains its chosen subject area in a convincing and comprehensive fashion. The authors are to be commended for their achievement in bringing knowledge of a previously sparsely-covered subject to an English language readership.” —Warship Annual 2014

When war broke out in August 1914 France had only two dreadnoughts in service, with a second pair running trials. The main body of the elite Arm e Navale was made up of the eleven battleships of the _Patrie_ and _Danton_ classes, both of which were intermediate designs with two main gun calibres. Older ships included survivors of the notorious _Flotte d echantillons_ ('fleet of samples') of the 1890 programme and their successors designed during the 1890s. This book traces the development of French battleships from 1890 to 1922, and also covers the extensive modifications made to the survivors during the interwar period. The structure follows that of previous books in this highly successful series, with Part I by John Jordan devoted to design, followed by historical chapters by Philippe Caresse covering 1900 to 1945\. It is liberally illustrated throughout with line drawings and labelled schematics, plus photographs from the extensive Caresse collection, many of which are previously unpublished. This is the most comprehensive account of these ships published in English or in French, and is destined be the standard reference for many years to come. AUTHORS: John Jordan is the Editor of the _Warship_ annual and a lifelong student of French naval history. His previous three books on French Battleships, Cruisers and Destroyers were critical and commercial successes. Philippe Caresse, his collaborator on this book, is a leading authority on late 19th-century French warships.

Fascism and the Second World War left Italy indelibly changed, and cinema was arguably the art that most rigorously confronted the devastated nation. In this examination of four Italian filmmakers, Noa Steimatsky brilliantly maps their forceful negotiation of Italy’s identity and posits that the cinematic forms they employ constitute an imaginary reinhabiting of Italy-one that is inextricably linked with the political, physical, and symbolic predicament of reconstruction. A dynamic intersection of pictorial and photographic, architectural and literary discourses inform Steimatsky’s revisionist interrogation of exemplary works from the 1940s to the mid–1960s. From the earliest documentary work of Michelangelo Antonioni on the River Po to Pier Paolo Pasolini’s re-siting of the Gospel in the arid, peripheral landscape of the Italian south, and from Roberto Rossellini’s tracing of a neorealist project in ruinous Berlin to Luchino Visconti’s wrought grandeur visited upon a humble Sicilian fishing village, Italian Locations probes the historical experience of displacement, anachronism, and a thoroughly contemporary anxiety in the cinematic arena. For Steimatsky, Antonioni’s modernist achievement, informed by his native landscape, Rossellini’s neorealist image of Italy as a nation of ruins, Visconti’s reaching back to the nineteenth century and even more archaic pasts, and Pasolini’s ambivalence about modernity-all partake in a search for a politically and culturally redeemed Italy. Noa Steimatsky is associate professor of the history of art and film studies at Yale University.

Drawing on difficult-to-access wartime documents and other contemporary sources, this is the first compact, illustrated study of the tactics and techniques of the US fast carriers of Task Forces 50, 58 and 38 during the naval war against Japan in 1943–45. This title concentrates on exactly how these highly successful forces actually operated: their composition in ships, aircraft and men; the essential technology at their disposal; the evolving doctrine for their employment; the opposition and dangers they faced; and how they overcame them at the tactical level. It explains in straightforward terms the intricate details of topics such as how ships manoeuvred, how aircraft were deployed and recovered, the formations and approaches used by fighters, dive-bombers and torpedo-bombers against naval and land targets, and how Task Forces defended themselves. The text is supported by a wide range of wartime photos and full-colour illustrations, showing, for example, the formations employed by ships and aircraft, with altitudes and ranges throughout the course of attacks.

“Offers a fascinating look at the French Navy during the years leading up to World War I . . . an excellent addition to any naval library.” —Naval Historical Foundation Of all the threats faced by the Royal Navy during the first years of the twentieth century, the one which stood out was the risk to Britain’s sea lines of communication posed by France’s armoured cruisers. Fast, well-armed and well-protected, these ships could have evaded any attempted blockade of the French ports and, supported by a worldwide network of overseas bases, could potentially have caused havoc on the trade routes. Between 1898 and 1901 the French laid down thirteen ships, and completed nine in 1903–4 alone. This book has as its subject the French armoured cruisers built from the late 1880s until shortly before the outbreak of the Great War, beginning with the revolutionary Dupuy-de-Lôme, the world’s first modern armoured cruiser, and ending with the impressive six-funnelled Edgar Quinet and Waldeck-Rousseau. The primary focus of the book is on the technical characteristics of the ships. Detailed and labelled drawings based on the official plans are provided by John Jordan, and each individual class of ship is illustrated by photographs from the extensive personal collection of Philippe Caresse. The technical section is followed by a history in two parts, covering the Great War (1914–18) and the postwar years, during which the surviving ships saw extensive deployment as “station” cruisers overseas and as training ships. This is the most comprehensive account published in English or in French, and is destined be the standard reference for many years to come. “Brilliant, absolutely brilliant.” —War History Online