Documenting the heyday of independent horror film,production in Britain, 'ten Years of Terror' is an,encyclopaedic record of this era featuring a,stunning selection of film stills and truly great,promotional artwork. Films covered include: 'the,Wicker Man', 'A Clockwork Orange', 'the Devils','Countess Dracula', 'Alien', 'the Omen', 'Killer's,Moon', 'the Rocky Horror Picture Show', 'tales,From the Crypt', 'Frankenstein and the Monster,from Hell' and more! With 48 full-colour pages.,'Gruesomely beautiful and frighteningly good!' -,Hotdog (Book of the Month)

While there is a tacit appreciation that freedom from violence will lead to more prosperous relations among peoples, violence continues to be deployed for various political and social ends. Yet the problem of violence still defies neat description, subject to many competing interpretations. Histories of Violence offers an accessible yet compelling examination of the problem of violence as it appears in the corpus of canonical figures – from Hannah Arendt to Frantz Fanon, Michel Foucault to Slavoj Žižek – who continue to influence and inform contemporary political, philosophical, sociological, cultural, and anthropological study. Written by a team of internationally renowned experts, this is an essential interrogation of post-war critical thought as it relates to violence.

On the tenth anniversary of the Septemer 11, 2001 terrorist attacks, David Ray Griffin reviews the troubling questions that remain unanswered 9/11 Ten Years Later is David Ray Griffin's tenth book about the tragic events of September 11, 2001. Asking in the first chapter whether 9/11 justified the war in Afghanistan, he explains why it did not. In the following three chapters, devoted to the destruction of the World Trade Center, Griffin asks why otherwise rational journalists have endorsed miracles (understood as events that contradict laws of science). Also, introducing the book's theme, Griffin points out that 9/11 has been categorized by some social scientists as a state crime against democracy. Turning next to debates within the 9/11 Truth Movement, Griffin reinforces his claim that the reported phone calls from the airliners were faked, and argues that the intensely debated issue about the Pentagon—whether it was struck by a Boeing 757—is quite unimportant. Finally, Griffin suggests that the basic faith of Americans is not Christianity but "nationalist faith"—which most fundamentally prevents Americans from examining evidence that 9/11 was orchestrated by U.S. leaders—and argues that the success thus far of the 9/11 state crime against democracy need not be permanent.

Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.

Readers interested in Arab studies, Detroit culture and history, transnational politics, and the changing dynamics of race and ethnicity in America will enjoy the personal reflection and analytical insight of Arab Detroit 9/11.

Maria A Ressa has been interviewed by The Wall Street Journal ( High-Profile Journalist Reshapes Her Role in Terrorism Fight )The two most wanted terrorists in Southeast Asia OCo a Malaysian and a Singaporean OCo are on the run in the Philippines, but they manage to keep their friends and family updated on Facebook. Filipinos connect with al-Qaeda-linked groups in Somalia and Yemen. The black flag OCo embedded in al-Qaeda lore OCo pops up on websites and Facebook pages from around the world, including the Philippines, Indonesia, the Middle East, Afghanistan, Australia, and North Africa. The black flag is believed to herald an apocalypse that brings Islam's triumph. These are a few of the signs that define terrorism's new battleground: the Internet and social media.In this groundbreaking work of investigative journalism, Maria Ressa traces the spread of terrorism from the training camps of Afghanistan to Southeast Asia and the Philippines. Through research done at the International Center for Political Violence & Terrorism Research in Singapore and sociograms created by the CORE Lab at the Naval Postgraduate School, the book examines the social networks which spread the virulent ideology that powered terrorist attacks in the past 10 years.Many of the stories here have never been told before, including details about the 10 days during which Ressa led the crisis team in the Ces Drilon kidnapping case by the Abu Sayyaf in 2008. The book forms the powerful narrative that glues together the social networks OCo both physical and virtual OCo which spread the jihadi virus from bin Laden to Facebook.

From the author of the definitive heavy metal history, Bang Your Head, a behind-the-scenes look a century of horror films Reel Terror is a love letter to the wildly popular yet still misunderstood genre that churns out blockbusters and cult classics year after year. From The Cabinet of Dr. Caligari to Paranormal Activity, Konow explores its all-time highs and lows, why the genre has been overlooked, and how horror films just might help us overcome fear. His on-set stories and insights delve into each movie and its effect on American culture. For novices to all out film buffs, this is the perfection companion to this Halloween's movie marathons.

With the Pulitzer Prize–winning The Looming Tower, Lawrence Wright became generally acknowledged as one of our major journalists writing on terrorism in the Middle East. Here, in ten powerful pieces first published in The New Yorker, he recalls the path that terror in the Middle East has taken, from the rise of al-Qaeda in the 1990s to the recent beheadings of reporters and aid workers by ISIS. The Terror Years draws on several articles he wrote while researching The Looming Tower, as well as many that he’s written since, following where and how al-Qaeda and its core cultlike beliefs have morphed and spread. They include a portrait of the “man behind bin Laden,” Ayman al-Zawahiri, and the tumultuous Egypt he helped spawn; an indelible impression of Saudi Arabia, a kingdom of silence under the control of the religious police; the Syrian film industry, at the time compliant at the edges but already exuding a feeling of the barely masked fury that erupted into civil war; the 2006–11 Israeli-Palestinian conflict in Gaza, a study in the disparate value of human lives. Other chapters examine al-Qaeda as it forms a master plan for its future, experiences a rebellion from within the organization, and spins off a growing web of worldwide terror. The American response is covered in profiles of two FBI agents and the head of the intelligence community. The book ends with a devastating piece about the capture and slaying by ISIS of four American journalists and aid workers, and our government’s failed response. On the fifteenth anniversary of 9/11, The Terror Years is at once a unifying recollection of the roots of contemporary Middle Eastern terrorism, a study of how it has grown and metastasized, and, in the scary and moving epilogue, a cautionary tale of where terrorism might take us yet.

In 1917 Russia, ten-year-old Peter Neufeld's home is robbed and the family's barn burned down. Scared and helpless in the face of anarchy, famine, and the Russian Revolution, the Neufelds must join the mass exodus of Mennonites to North America.

Momentous events have a way of connecting individuals both to history and to one another. So it was on September 11. Even before more than 4000 people died in less than two hours, there were farewell messages from the sky. In their last minutes, doomed passengers used cell phones to reach loved ones. A short time later, office workers trapped high in the burning towers called spouses, children, parents. Never had so many had the means to say good-bye. During the hours afterward, the survivors scrambled to make contact with family and friends. "Are you all right?" they asked. As the enormity of it all began to sink in, the question hanging in the air was, Were we all right? Since September 11, many have noted a humbling irony: the more time we'd spent in the old world and the better we thought we understood its organizing principles, the less ready we were for the new one. Suddenly, familiar terms and concepts were inadequate, starting with the word terrorism itself. The dictionary defines it as violence, particularly against civilians, carried out for a political purpose. September 11 certainly qualified. But American's earlier encounters with terrorism neither anticipated nor encompassed this new manifestation. Commentators instantly evoked Pearl Harbor, that other bolt-from-the-blue raid, sixty years before, as the closest thing to a precedent. But there really was none. This was something new under the sun.