Idi Amin ruled the East African country of Uganda from January 1971 to April 1979 when he was ousted from power by a combined force of the Tanzania Peoples' Defence Force and Ugandan exiles operating through Tanzania. He left a controversial and conflicted legacy, as depicted by Oscar-winning film star Forest Whitaker in the hit movie "The Last King of Scotland"; but have authors and filmmakers who have attempted to tell his story to date really told the whole truth? Have they delved deep enough to uncover everything there is to know about Idi Amin, everything there is to tell about him and what actually happened during his rule and after he was forced to live in exile, first in Libya and then in Saudi Arabia? "No" says his son Jaffar Amin and other people! Was Idi Amin "Framed" or "Guilty as Charged"? Was something "insidious" going on during his rule in Uganda as alleged by many? What role did racism, colonialism, neocolonialism, classism, religion, tribalism and greed play in "creating" Idi Amin? In this unprecedented series devoted to telling Idi Amin's story in its entirety and not just "selected" parts, Margaret Akulia engages his son Jaffar Amin and other people in candid "conversation" about his legacy. As the world continues to pronounce "A Guilty Verdict" on Idi Amin after "finding him guilty beyond reasonable doubt," many people are adamant in asserting that "others" and not Idi Amin committed the "mass murders" attributed to him in Uganda which begs the question: Was Idi Amin a Hero or a Villain? This is a series devoted to uncovering Idi Amin's story in its entirety, layer by layer, telling all the truth and shedding light on the untruths! Compiled and co-written by Jaffar Amin and Margaret Akulia.

This trove of recently discovered photographs offers an unprecedented opportunity to take a closer look at Idi Amin's dictatorship and its impact on Ugandan history. Chosen from a collection of 70,000 negatives from the archive of the Uganda Broadcasting Corporation, the images in this remarkable collection were taken by Amin's personal photographers between the 1950s and mid-1980s. Like many dictators, Amin used photography as a means of spreading propaganda that would flatter his regime while obscuring its failures and abuses. Organized into thematic sections, these photographs show how Amin sought to gain support for acts such as his expulsion of tens of thousands of South Asians in 1972 and for the "Economic War," in which citizens charged with petty theft were tried and executed. There are also fascinating insights into the ways Amin hoped to promote Ugandan arts and culture, including a food-eating competition in Kampala and ceremonial visits to remote villages. The book includes revelatory archival documents recently unearthed concerning the Amin government. Essays by the authors, both experts in the field, help provide a context for the archive, as well as insights into how the lessons learned from this dark period of African history can shine a light towards a brighter future for Uganda and its people.

In Idi Amin’s Shadow is a rich social history examining Ugandan women’s complex and sometimes paradoxical relationship to Amin’s military state. Based on more than one hundred interviews with women who survived the regime, as well as a wide range of primary sources, this book reveals how the violence of Amin’s militarism resulted in both opportunities and challenges for women. Some assumed positions of political power or became successful entrepreneurs, while others endured sexual assault or experienced the trauma of watching their brothers, husbands, or sons “disappeared” by the state’s security forces. In Idi Amin’s Shadow considers the crucial ways that gender informed and was informed by the ideology and practice of militarism in this period. By exploring this relationship, Alicia C. Decker offers a nuanced interpretation of Amin’s Uganda and the lives of the women who experienced and survived its violence. Each chapter begins with the story of one woman whose experience illuminates some larger theme of the book. In this way, it becomes clear that the politics of military rule were highly relevant to women and gender relations, just as the politics of gender were central to militarism. By drawing upon critical security studies, feminist studies, and violence studies, Decker demonstrates that Amin’s dictatorship was far more complex and his rule much more strategic than most observers have ever imagined.

The first serious full-length biography of modern Africa’s most famous dictator Idi Amin began his career in the British army in colonial Uganda, and worked his way up the ranks before seizing power in a British-backed coup in 1971. He built a violent and unstable dictatorship, ruthlessly eliminating perceived enemies and expelling Uganda’s Asian population as the country plunged into social and economic chaos. In this powerful and provocative new account, Mark Leopold places Amin’s military background and close relationship with the British state at the heart of the story. He traces the interwoven development of Amin’s career and his popular image as an almost supernaturally evil monster, demonstrating the impossibility of fully distinguishing the truth from the many myths surrounding the dictator. Using an innovative biographical approach, Leopold reveals how Amin was, from birth, deeply rooted in the history of British colonial rule, how his rise was a legacy of imperialism, and how his monstrous image was created.

* The first multi-disciplinary analysis of Shah Jahan and his predecessor Jahangir, this collection of essays focuses on one of the least studied periods of Mughal history, the reign of Shah Jahan* Through subaltern court writing, art, architecture, accounts of foreign traders and poetry, the authors reconstruct the court of the Mughal emperor, whose influence extended even to 19th-century AfghanistanThe reign of Shah Jahan (1628-58) is widely regarded as the golden age of the Mughal empire, yet it is one of the least studied periods of Mughal history. In this volume, 14 eminent scholars with varied historical interests - political, social, economic, legal, cultural, literary and art-historical - present for the first time a multi-disciplinary analysis of Shah Jahan and his predecessor Jahangir (r. 1605-27). Corinne Lefèvre, Anna Kollatz, Ali Anooshahr, Munis Faruqui and Mehreen Chida-Razvi study the various ways in which the events of the transition between the two reigns found textual expression in Jahangir's and Shah Jahan's historiography, in subaltern courtly writing, and in art and architecture. Harit Joshi and Stephan Popp throw light on the emperor's ceremonial interaction with his subjects and Roman Siebertz enumerates the bureaucratic hurdles which foreign visitors had to face when seeking trade concessions from the court. Sunil Sharma analyses the new developments in Persian poetry under Shah Jahan's patronage and Chander Shekhar identifies the Mughal variant of the literary genre of prefaces. Ebba Koch derives from the changing ownership of palaces and gardens insights about the property rights of the Mughal nobility and imperial escheat practices. Susan Stronge discusses floral and figural tile revetments as a new form of architectural decoration and J.P. Losty sheds light on the changes in artistic patronage and taste that transformed Jahangiri painting into Shahjahani. R.D. McChesney shows how Shah Jahan's reign cast such a long shadow that it even reached the late 19th- and early 20th-century rulers of Afghanistan.This imaginatively conceived collection of articles invites us to see in Mughal India of the first half of the 17th century a structural continuity in which the reigns of Jahangir and Shah Jahan emerge as a unit, a creative reconceptualization of the Mughal empire as visualized by Akbar on the basis of what Babur and Humayun had initiated. This age seized the imagination of the contemporaries and, in a world as yet unruptured by an intrusive colonial modernity, Shah Jahan's court was regarded as the paradigm of civility, progress and development.

The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military odds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), ‘failed states’ (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination.

Whether re-creating an actual event or simply being set in a bygone era, films have long taken liberties with the truth. While some members of the audience can appreciate a movie without being distracted by historical inaccuracies, other viewers are more discerning. From revered classics like Gone with the Wind to recent award winners like Argo, Hollywood films often are taken to task for their loose adherence to the facts. But what obligation do filmmakers have to the truth when trying to create a two-hour piece of entertainment? In Bringing History to Life through Film: The Art of Cinematic Storytelling, Kathryn Anne Morey brings together essays that explore the controversial issue of film as a purveyor of history. Examining a range of films, including highly regarded features like The Last of the Mohicans and Pan’s Labyrinth, as well as blockbuster franchises like Pirates of the Caribbean, chapters demonstrate that the debate surrounding the role of history on film is still as raw as ever. Organized in five sections, these essays discuss the myths and realities of history as they are portrayed on film, from “Nostalgic Utopias” to “Myths and Fairy Tales.” The fourteen chapters shed light on how films both convey and distort historical realities to capture the “essence” of the past rather than the past itself. Ultimately, they consider what role cinema plays as the quintessential historical storyteller. In addition to cinema and media studies, this book will appeal to scholars of history and fans of a wide range of cinematic genres.

Since groups of people first gathered together to nurture their common interests, there have been other groups who have sought to subjugate or destroy them. This anthology contains a collection of writings, chosen for their unique insights into genocides and mass-persecutions in Uganda. First-person narratives are provided, which give the reader insight into the thoughts of the people who experienced the events. Narratives include the story of a Ugandan woman who loses a daughter, and a child soldier who escapes to Uganda. Critical information is broken out and encapsulated into charts, timelines, and graphs.

Every generation of people think that their problems are the most important ever. As history flows without interruption and doomsday scenarios fail, the following generations focus on their own contemporary events, ignoring or underestimating the past. In this way people always see "signs" in their times and the end of the world is constantly a fresh subject.

In 1895, George Whitehouse arrived at the east African post of Mombasa to perform an engineering miracle: the building of the Mombasa-Nairobi-Lake Victoria Railway – a 600-mile route that was largely unmapped and barely explored. Behind Mombasa lay a scorched, waterless desert. Beyond, a horizonless scrub country climbed toward a jagged volcanic region bisected by the Great Rift Valley. A hundred miles of sponge-like quagmire marked the railway's last lap. The entire right of way bristled with hostile tribes, teemed with lions and breathed malaria. What was the purpose of this 'giant folly' and whom would it benefit? Was it to exploit the rumoured wealth of little-known central African kingdoms? Was it to destroy the slave trade? To encourage commerce and settlement? THE LUNATIC EXPRESS explores the building of this great railway in an earlier Africa of slave and ivory empires, of tribal monarchs and the vast lands that they ruled. Above all, it is the story of the white intruders whose combination of avarice, honour and tenacious courage made them a breed apart.