Franklin examines the impact of technology upon our lives and addresses the extraordinary changes since The Real World of Technology was first published.In four new chapters, Franklin tackles contentious issues, such as the dilution of privacy and intellectual property rights, the impact of the current technology on government and governance, the shift from consumer capitalism to investment capitalism, and the influence of the Internet upon the craft of writing.

    It is well known that some Americans are obsessed with conspiracies. The Kennedy assassination, the Oklahoma City bombing, and the 2001 terrorist attacks have all generated elaborate stories of hidden plots. What is far less known is the extent to which conspiracist worldviews have recently become linked in strange and unpredictable ways with other "fringe" notions such as a belief in UFOs, Nostradamus, and the Illuminati. Unraveling the extraordinary genealogies and permutations of these increasingly widespread ideas, Barkun shows how this web of urban legends has spread among subcultures on the Internet and through mass media, how a new style of conspiracy thinking has recently arisen, and how this phenomenon relates to larger changes in American culture. This book, written by a leading expert on the subject, is the most comprehensive and authoritative examination of contemporary American conspiracism to date.Barkun discusses a range of material—involving inner-earth caves, government black helicopters, alien abductions, secret New World Order cabals, and much more—that few realize exists in our culture. Looking closely at the manifestions of these ideas in a wide range of literature and source material from religious and political literature, to New Age and UFO publications, to popular culture phenomena such as The X-Files, and to websites, radio programs, and more, Barkun finds that America is in the throes of an unrivaled period of millennarian activity. His book underscores the importance of understanding why this phenomenon is now spreading into more mainstream segments of American culture.

    While fueling extraordinary advances in all fields of human endeavor, this vision perpetuated a hidden yet persistent agenda: the delusion that human nature and society could be fitted into precise and manageable rational categories. Stephen Toulmin confronts that agenda—its illusions and its consequences for our present and future world."By showing how different the last three centuries would have been if Montaigne, rather than Descartes, had been taken as a starting point, Toulmin helps destroy the illusion that the Cartesian quest for certainty is intrinsic to the nature of science or philosophy."—Richard M. Rorty, University of Virginia"[Toulmin] has now tackled perhaps his most ambitious theme of all. . . . His aim is nothing less than to lay before us an account of both the origins and the prospects of our distinctively modern world. By charting the evolution of modernity, he hopes to show us what intellectual posture we ought to adopt as we confront the coming millennium."—Quentin Skinner, New York Review of Books

    This was the work of an elite group known as Unit 731, led by Japan's answer to Joseph Mengele, Dr Shiro Ishii.Under their initiative, thousands of individuals were held captive and infected with virulent strains of anthrax, plague, cholera, and other epidemic and viral diseases. Soon entire Chinese villages were being hit with biological bombs. Even American POWs were targeted. All told, more than 250,000 people were infected, and the vast majority died. Yet, after the war, US occupation forces under General Douglas MacArthur struck a deal with these doctors that shielded them from accountability.Provocative, alarming and utterly compelling, A Plague Upon Humanity draws on important original research to expose one of the most shameful chapters in human history.

    From a young age he was consumed by photography, chess, and, above all else, movies. He was a self‑taught filmmaker and self‑proclaimed outsider, and his films exist in a unique world of their own outside the Hollywood mainstream. Kubrick’s Jewishness played a crucial role in his idea of himself as an outsider. Obsessed with rebellion against authority, war, and male violence, Kubrick was himself a calm, coolly masterful creator and a talkative, ever‑curious polymath immersed in friends and family.   Drawing on interviews and new archival material, Mikics for the first time explores the personal side of Kubrick’s films.

    It was a story that generations of Americans have also come to know through Dorothea Lange'sunforgettable photos of migrant families struggling to make a living in Depression-torn California. Now in James N. Gregory's pathbreaking American Exodus, there is at last an historical study that moves beyond the fiction of the 1930s to uncover the full meaning of these events. American Exodus takes us back to the Dust Bowl migration of the 1930s and the war boom influx of the 1940s to explore the experiences of the more than one million Oklahomans, Arkansans, Texans, and Missourians who sought opportunities in California. Gregory reaches into the migrants' livesto reveal not only their economic trials but also their impact on California's culture and society. He traces the development of an Okie subculture that over the years has grown into an essential element in California's cultural landscape. Gregory vividly depicts how Southwesterners brought with them on their journey west an allegiance to evangelical Protestantism, plain-folk American values, and a love of country music. These values gave Okies an expanding cultural presence their new home. In their neighborhoods, oftencalled Little Oklahomas, they created a community of churches and saloons, of church-goers and good-old-boys, mixing stern-minded religious thinking with hard-drinking irreverence. Today, Baptist and Pentecostal churches abound in this region, and from Gene Autry, Oklahoma's singing cowboy, toWoody Guthrie, Bob Wills, and Merle Haggard, the special concerns of Southwesterners have long dominated the country music industry in California. The legacy of the Dust Bowl migration can also be measured in political terms. Throughout California and especially in the San Joaquin Valley Okies haveimplanted their own brand of populist conservatism. The consequences reach far beyond California. The Dust Bowl migration was part of a larger heartland diaspora that has sent millions of Southerners and rural Midwesterners to the nation's northern and western industrial perimeter. American Exodus is the first book to examine the culturalimplications of that massive 20th-century population shift. In this rich account of the experiences and impact of these migrant heartlanders, Gregory fills an important gap in recent American social history.

    Minois begins his survey with classical Greece and Rome, where suicide was acceptable—even heroic—under some circumstances. With the rise of Christianity, however, suicide was unequivocally condemned as self-murder and an insult to God. With the Renaissance and its renewed interest in classical culture, suicide reemerged as a philosophical issue. Minois finds examples of changing attitudes in key Renaissance texts by Bacon, Montaigne, Sidney, Donne, and Shakespeare.By 1700, the term suicide had replaced self-murder and the subject began to interest the emerging scientific disciplines. Minois follows the ongoing evaluation of suicide through the Enlightenment and the Romantic periods, and he examines attitudes that emerge in nineteenth- and twentieth-century science, law, philosophy, and literature. Minois concludes with comments on the most recent turn in this long and complex history—the emotional debate over euthanasia, assisted suicide, and the right to die.

    Mocked and scorned by his contemporaries, Lay was unflinching in his opposition to slavery, often performing colorful guerrilla theater to shame slave masters, insisting that human bondage violated the fundamental principles of Christianity. He drew on his ideals to create a revolutionary way of life, one that embodied the proclamation "no justice, no peace."Lay was born in 1682 in Essex, England. His philosophies, employments, and places of residence--spanning England, Barbados, Philadelphia, and the open seas--were markedly diverse over the course of his life. He worked as a shepherd, glove maker, sailor, and bookseller. His worldview was an astonishing combination of Quakerism, vegetarianism, animal rights, opposition to the death penalty, and abolitionism.While in Abington, Philadelphia, Lay lived in a cave-like dwelling surrounded by a library of two hundred books, and it was in this unconventional abode where he penned a fiery and controversial book against bondage, which Benjamin Franklin published in 1738. Always in motion and ever confrontational, Lay maintained throughout his life a steadfast opposition to slavery and a fierce determination to make his fellow Quakers denounce it, which they finally began to do toward the end of his life.With passion and historical rigor, Rediker situates Lay as a man who fervently embodied the ideals of democracy and equality as he practiced a unique concoction of radicalism nearly three hundred years ago. Rediker resurrects this forceful and prescient visionary, who speaks to us across the ages and whose innovative approach to activism is a gift, transforming how we consider the past and how we might imagine the future.

    Drawing on a wide variety of films and primary source materials including censorship files, critical reviews, promotional materials, fanzines, men's magazines, and popular news weeklies, the book examines the historical figure of the movie monster in relation to various medical, psychological, religious and social models of homosexuality. While recent work within gay and lesbian studies has explored how the genetic tropes of the horror film intersect with popular culture's understanding of queerness, this is the first book to examine how the concept of the monster queer has evolved from era to era. From the gay and lesbian sensibilities encoded into the form and content of the classical Hollywood horror film, to recent films which play upon AIDS-related fears. Monster in the Closet examines how the horror film started and continues, to demonize (or quite literally "monsterize") queer sexuality, and what the pleasures and "costs" of such representations might be both for individual spectators and culture at large.

    More than any other major national leader, he personifies his country in the eyes of the outside world, and dominates Western media coverage of it to an extraordinary extent. In Russia itself, he is likewise the centre of attention for detractors and supporters alike. But as Tony Wood argues, this overwhelming focus on the president and his personality means that we understand Russia less than we ever did before. Too much attention is paid to the man, and not enough to the country outside the Kremlin's walls. In this timely and provocative analysis, Wood looks beyond Putin to explore the profound changes Russia has undergone since 1991. In the process, he challenges many of the common assumptions made about contemporary Russia. Though commonly viewed as an ominous return to Soviet authoritarianism, Putin's rule should instead be seen as a direct continuation of Yeltsin's in the 1990s. And though many of Russia's problems today are blamed on legacies of the Soviet past, Wood argues that the core features of Putinism--a predatory, authoritarian elite presiding over a vastly unequal society--are integral to the system set in place after the fall of Communism.What kind of country has emerged from Russia's post-Soviet transformations, and where might it go in future? Russia Without Putin culminates in an arresting analysis of the country's foreign policy--identifying the real power dynamics behind its escalating clashes with the West--and with reflections on the paths Russia might take in the 21st century.

    Ben Urwand reveals this bargain for the first time--a "collaboration" "(Zusammenarbeit)" that drew in a cast of characters ranging from notorious German political leaders such as Goebbels to Hollywood icons such as Louis B. Mayer.At the center of Urwand's story is Hitler himself, who was obsessed with movies and recognized their power to shape public opinion. In December 1930, his Party rioted against the Berlin screening of "All Quiet on the Western Front," which led to a chain of unfortunate events and decisions. Fearful of losing access to the German market, all of the Hollywood studios started making concessions to the German government, and when Hitler came to power in January 1933, the studios--many of which were headed by Jews--began dealing with his representatives directly.Urwand shows that the arrangement remained in place through the 1930s, as Hollywood studios met regularly with the German consul in Los Angeles and changed or canceled movies according to his wishes. Paramount and Fox invested profits made from the German market in German newsreels, while MGM financed the production of German armaments. Painstakingly marshaling previously unexamined archival evidence, "The Collaboration" raises the curtain on a hidden episode in Hollywood--and American--history.

    Through it all, Motown provided the beat. This book tells the story of Motown--as both musical style and entrepreneurial phenomenon--and of its intrinsic relationship to the politics and culture of Motor Town, USA.As Suzanne Smith traces the evolution of Motown from a small record company firmly rooted in Detroit's black community to an international music industry giant, she gives us a clear look at cultural politics at the grassroots level. Here we see Motown's music not as the mere soundtrack for its historical moment but as an active agent in the politics of the time. In this story, Motown Records had a distinct role to play in the city's black community as that community articulated and promoted its own social, cultural, and political agendas. Smith shows how these local agendas, which reflected the unique concerns of African Americans living in the urban North, both responded to and reconfigured the national civil rights campaign.Against a background of events on the national scene--featuring Martin Luther King, Jr., Langston Hughes, Nat King Cole, and Malcolm X--Dancing in the Street presents a vivid picture of the civil rights movement in Detroit, with Motown at its heart. This is a lively and vital history. It's peopled with a host of major and minor figures in black politics, culture, and the arts, and full of the passions of a momentous era. It offers a critical new perspective on the role of popular culture in the process of political change.

    Almost two hundred years later, a charismatic preacher founded a utopian community in Oneida, New York, that practiced socialism and free love. In the 1960s and ’70s, a new generation of seekers gathered in vegetarian restaurants in Los Angeles, Satanic coffee shops in New Orleans, and fortified communes in Philadelphia. And in the twenty-first century, gurus use self-help seminars and get-rich-quick schemes to evangelize to their flocks.Across the decades, Americans in search of divine truths have turned to unconventional prophets for the answers. Some of these prophets have demanded their faith, fortunes, and even their very lives. In American Cult, over twenty cartoonists explore the history of these groups with clarity and empathy—looking beyond the scandalous headlines to find the human stories within.Featuring the talents of Lara Antal, Brian “Box” Brown, Ryan Carey, Rosa Colón Guerra, Mike Dawson, Lisa Rosalie Eisenberg, Mike Freiheit, Emi Gennis, Andrew Greenstone, Janet Harvey, Josh Kramer, Jesse Lambert, Ellen Lindner, Lonnie Mann, Ben Passmore, Jim Rugg, Robert Sergel, Vreni Stollberger, Steve Teare, and J.T. Yost.

    The furtive discovery of the dark continent of sex in banned magazines, the beauty of black ink on paper, but also the mysteries of space and the grief of mourning: these are some of the things we encounter as the philosopher takes us on a trip through the private theater of his mind, at the whim of his memories. Music, painting, politics, sex, and metaphysics: all contribute to making black more luminous than it has ever been.

    To critics, it was either "a degrading, senseless misuse of film and time" or "an intelligent, absorbing and deeply disturbing horror film." However it was an immediate hit with audiences. Banned and celebrated, showcased at the Cannes film festival and included in the New York MoMA's collection, it has now come to be recognized widely as one of the greatest horror movies of all time.A six-foot-four poet fresh out of grad school with limited acting experience, Gunnar Hansen played the masked, chain-saw-wielding Leatherface. His terrifying portrayal and the inventive work of the cast and crew would give the film the authentic power of nightmare, even while the gritty, grueling, and often dangerous independent production would test everyone involved, and lay the foundations for myths surrounding the film that endure even today.Critically-acclaimed author Hansen here tells the real story of the making of the film, its release, and reception, offering unknown behind-the-scenes details, a harrowingly entertaining account of the adventures of low-budget filmmaking, illuminating insights on the film's enduring and influential place in the horror genre and our culture, and a thoughtful meditation on why we love to be scared in the first place.