The colours of catastrophe: Rediscovered autochrome photography of the First World War The devastating events of the First World War were captured in myriad photographs on all sides of the front. Since then, thousands of books of black-and-white photographs of the war have been published as all nations endeavour to comprehend the scale and the carnage of the "greatest catastrophe of the 20th century". Far less familiar are the rare colour images of the First World War, taken at the time by a small group of photographers pioneering recently developed autochrome technology. To mark the centenary of the outbreak of war, this groundbreaking volume brings together all of these remarkable, fully hued pictures of the "war to end war". Assembled from archives in Europe, the United States and Australia, more than 320 colour photos provide unprecedented access to the most important developments of the period - from the mobilization of 1914 to the victory celebrations in Paris, London and New York in 1919. The volume represents the work of each of the major autochrome pioneers of the period, including Paul Castelnau, Fernand Cuville, Jules Gervais-Courtellemont, Léon Gimpel, Hans Hildenbrand, Frank Hurley, Jean-Baptiste Tournassoud and Charles C. Zoller. Since the autochrome process required a relatively long exposure time, almost all of the photos depict carefully composed scenes, behind the rapid front-line action. We see poignant group portraits, soldiers preparing for battle, cities ravaged by military bombardment - daily human existence and the devastating consequences on the front. A century on, this unprecedented publication brings a startling human reality to one of the most momentous upheavals in history.

Decolonizing the Memory of the First World War contributes to the imperial turn in First World War studies. This book provides an exploration of the ways in which war memory can be appropriated, neglected and disabled, but also “unlearned” and “decolonized”. The book offers an analysis of the experience of soldiers of colour in five novels published at the centenary of the First World War by David Diop, Raphaël Confiant, Fred Khumalo, Kamila Shamsie and Abdulrazak Gurnah, examining the poetics and the politics of the conflict’s commemoration. It explores continuities between WWI and earlier and later eruptions of violence, thus highlighting the long-lasting sequels of the first global conflict in the former French, British and German empires. It thereby asks important questions about the decolonization of the memory of the First World War, its tools, critical potential and limitations. The book will appeal to academics and postgraduate students working in postcolonial literatures, postcolonial and decolonial studies, First World War studies, colonial history, human and political geography, as well as readers interested in cultural memory and overlapping legacies of violence.

The First World War has given rise to a multifaceted cultural production like no other historical event. This handbook surveys British literature and film about the war from 1914 until today. The continuing interest in World War I highlights the interdependence of war experience, the imaginative re-creation of that experience in writing, and individual as well as collective memory. In the first part of the handbook, the major genres of war writing and film are addressed, including of course poetry and the novel, but also the short story; furthermore, it is shown how our conception of the Great War is broadened when looked at from the perspective of gender studies and post-colonial criticism. The chapters in the second part present close readings of important contributions to the literary and filmic representation of World War I in Great Britain. All in all, the contributions demonstrate how the opposing forces of focusing and canon-formation on the one hand, and broadening and revision of the canon on the other, have characterised British literature and culture of the First World War.

Offers an overview of the role played by Black British soldiers in the First World War.

Of interest to historians, classicists, media and digital theorists, literary scholars, museologists, and archivists, Media, Memory, and the First World War is a comparative study that shows how the dominant mode of communication in a popular culture - from oral traditions to digital media - shapes the structure of memory within that culture.

In Britain since the 1960s television has been the most influential medium of popular culture. Television is also the site where the Western Front of popular culture clashes with the Western Front of history.This book examines the ways in which those involved in the production of historical documentaries for this most influential media have struggled to communicate the stories of the First World War to British audiences. Documents in the BBC Written Archives Centre at Caversham, Berkshire, the Imperial War Museum, and the Liddell Hart Centre for Military Archives all inform the analysis. Interviews and correspondence with television producers, scriptwriters and production crew, as well as two First World War veterans who appeared in several recent documentaries provide new insights for the reader.Emma Hanna takes the reader behind the scenes of the making of the most influential documentaries from the landmark epic series The Great War (BBC, 1964) up to more recent controversial productions such as The Trench (BBC, 2002) and Not Forgotten: The Men Who Wouldn't Fight (BBC, 2008). By examining the production, broadcast and reception of a number of British television documentaries this book examines the difficult relationship between the war's history and its popular memory.

The British Empire played a crucial part in the First World War, supplying hundreds of thousands of soldiers and labourers as well as a range of essential resources, from foodstuffs to minerals, mules, and munitions. In turn, many imperial territories were deeply affected by wartime phenomena, such as inflation, food shortages, combat, and the presence of large numbers of foreign troops. This collection offers a comprehensive selection of essays illuminating the extent of the Empire’s war contribution and experience, and the richness of scholarly research on the subject. Whether supporting British military operations, aiding the British imperial economy, or experiencing significant wartime effects on the home fronts of the Empire, the war had a profound impact on the colonies and their people. The chapters in this volume were originally published in Australian Historical Studies, The Journal of Imperial and Commonwealth History, First World War Studies or The Round Table: The Commonwealth Journal of International Affairs.

The Routledge History of the First World War is a work which, in a single volume, covers a range of major themes and issues relating to that conflict. Providing a comprehensive but readily accessible reference work examining the First World War, in accordance with a broad range of themes, this book presents the many ways in which study of the First World War can take place and introduces readers to new areas of research, often untouched in other studies of the war. With a scholarly Introduction and 60 chapters by specialist authors who come from 14 different countries, across four continents, the book is also intended to open lines of further inquiry from its solid base of academic knowledge. The volume demonstrates the war’s global and total nature, examining the conflict in all major theatres and through the lens of the key combatants and neutrals. It also fully engages with issues of race, gender, ideology, and society during the war. This book will appeal to students of all levels, scholars, and general readers alike interested in the First World War from several different perspectives and research areas. The 60 chapters cover topics from numerous angles and provide detailed information about all aspects relating to the First World War.

The Black Watch was formed at Aberfeldy in Perthshire in the early eighteenth century as an independent security force, or 'watch', to guard the approaches to the lawless areas of the Scottish Highlands. Instantly recognisable due to the famous red hackle cap badge and the traditional dark blue and green government tartan kilt from which it got its name, The Black Watch was renowned as one of the great fighting regiments of the British Army and served with distinction in all major conflicts from the War of Austrian Succession onwards. In a highly controversial move, the regiment served under the operational control of the US Army during the counter-insurgency war in Iraq in December 2004. The Black Watch prided itself on being a 'family regiment', with sons following fathers into its ranks, and this new concise history reflects the strong sense of identity which was created over the centuries. In 2006, as part of a radical review of the country's defence policy, The Black Watch was amalgamated into the new Royal Regiment of Scotland. This new account of the famous regiment is therefore a timely memorial to its long and distinguished history.

"John Gage's Color and Meaning is full of ideas. . .He is one of the best writers on art now alive."--A. S. Byatt, Booker Prize winner