Sam Edwards – författare

As early as 1892, Moncure Conway, the author of the first scholarly Paine biography, noted that whilst Paine’s life up to 1809 was certainly fascinating, his subsequent life – that is, his afterlife – was even more thrilling. Vilified by Theodore Roosevelt as a "filthy little atheist," yet employed by Ronald Reagan in his campaign to make America "great again," Paine’s words and ideas have been both celebrated and dismissed by generations of politicians and presidents. An Englishman by birth, an American by adoption, and a Frenchman by decree, Paine has been invoked and appropriated by groups and individuals across the transatlantic political spectrum. This was particularly apparent following the bicentennial of Paine’s death in 2009, an event that prompted new scholarship examining troublesome Tom’s ideas and ideals, whilst in Thetford, Lewes and New Rochelle – his three transatlantic "homes" – he was feted and commemorated. Yet despite all this interest, the precise forms and function of Paine’s post-mortem presence have still not received the attention they deserve. With essays authored by experts on both sides of the Atlantic (and beyond), this book examines the transatlantic afterlife of Thomas Paine, offering new insights into the ways in which he has been used and abused, remembered and represented, in the two hundred years since his death.

Amidst the ruins of postwar Europe, and just as the Cold War dawned, many new memorials were dedicated to those Americans who had fought and fallen for freedom. Some of these monuments, plaques, stained-glass windows and other commemorative signposts were established by agents of the US government, partly in the service of transatlantic diplomacy; some were built by American veterans' groups mourning lost comrades; and some were provided by grateful and grieving European communities. As the war receded, Europe also became the site for other forms of American commemoration: from the sombre and solemn battlefield pilgrimages of veterans, to the political theatre of Presidents, to the production and consumption of commemorative souvenirs. With a specific focus on processes and practices in two distinct regions of Europe - Normandy and East Anglia - Sam Edwards tells a story of postwar Euro-American cultural contact, and of the acts of transatlantic commemoration that this bequeathed.

Amidst the ruins of postwar Europe, and just as the Cold War dawned, many new memorials were dedicated to those Americans who had fought and fallen for freedom. Some of these monuments, plaques, stained-glass windows and other commemorative signposts were established by agents of the US government, partly in the service of transatlantic diplomacy; some were built by American veterans' groups mourning lost comrades; and some were provided by grateful and grieving European communities. As the war receded, Europe also became the site for other forms of American commemoration: from the sombre and solemn battlefield pilgrimages of veterans, to the political theatre of Presidents, to the production and consumption of commemorative souvenirs. With a specific focus on processes and practices in two distinct regions of Europe - Normandy and East Anglia - Sam Edwards tells a story of postwar Euro-American cultural contact, and of the acts of transatlantic commemoration that this bequeathed.

What can historical films and period television tell us about history? How reliable are these sources? How, as historians, should we ‘read’ a film? This second edition of Histories on Screen gets to the heart of these questions and more in a comprehensive volume which greatly enhances our understanding of the relationship between film/television and history.The book begins with a theoretical ‘Thinking about Film’ section that explores the ways in which film and television can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger ‘Using Film’ segment of the book then provides diverse case studies which put this theory into practice. It explores vital areas of historical analysis in the process, including gender, class, race, war, genocide, sexuality, propaganda, national identity and memory. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study that features prominently throughout the text.This new edition includes six brand new chapters exploring the following key topics:* Depictions of women in period dramas* Black British history on film* LGBTQ+ history and documentary film production* The Holocaust, film and post-genocidal trauma* US Civil Rights and television* The Hollywood Western and the Cold War

What can historical films and period television tell us about history? How reliable are these sources? How, as historians, should we ‘read’ a film? This second edition of Histories on Screen gets to the heart of these questions and more in a comprehensive volume which greatly enhances our understanding of the relationship between film/television and history.The book begins with a theoretical ‘Thinking about Film’ section that explores the ways in which film and television can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger ‘Using Film’ segment of the book then provides diverse case studies which put this theory into practice. It explores vital areas of historical analysis in the process, including gender, class, race, war, genocide, sexuality, propaganda, national identity and memory. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study that features prominently throughout the text.This new edition includes six brand new chapters exploring the following key topics:* Depictions of women in period dramas* Black British history on film* LGBTQ+ history and documentary film production* The Holocaust, film and post-genocidal trauma* US Civil Rights and television* The Hollywood Western and the Cold War

How, as historians, should we ‘read’ a film? Histories on Screen answers this and other questions in a crucial volume for any history student keen to master source use.The book begins with a theoretical ‘Thinking about Film’ section that explores the ways in which films can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger ‘Using Film’ segment of the book then offers engaging case studies which put this theory into practice. Topics including gender, class, race, war, propaganda, national identity and memory all receive good coverage in what is an eclectic multi-contributor volume. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study featuring prominently throughout the text.Histories on Screen is a vital resource for all history students as it enables them to understand film as a source and empowers them with the analytical tools needed to use that knowledge in their own work.

How, as historians, should we ‘read’ a film? Histories on Screen answers this and other questions in a crucial volume for any history student keen to master source use.The book begins with a theoretical ‘Thinking about Film’ section that explores the ways in which films can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger ‘Using Film’ segment of the book then offers engaging case studies which put this theory into practice. Topics including gender, class, race, war, propaganda, national identity and memory all receive good coverage in what is an eclectic multi-contributor volume. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study featuring prominently throughout the text.Histories on Screen is a vital resource for all history students as it enables them to understand film as a source and empowers them with the analytical tools needed to use that knowledge in their own work.

Over the past seventy years, the Allied invasion of Northwestern France in June 1944, known as D-Day, has come to stand as something more than a major battle. The assault itself formed a vital component of Allied victory in the Second World War. D-Day developed into a sign and symbol; as a word it carries with it a series of ideas and associations that have come to symbolize different things to different people and nations. As such, the commemorative activities linked to the battle offer a window for viewing the various belligerents in their postwar years. This book examines the commonalities and differences in national collective memories of D-Day. Chapters cover the main forces on the day of battle, including the United States, Great Britain, Canada, France, and Germany. In addition, a chapter on Russian memory of the invasion explores other views of the battle. The overall thrust of the book shows that memories of the past vary over time, link to present-day needs, and also still have a clear national and cultural specificity. These memories arise in a multitude of locations such as film, books, monuments, anniversary celebrations, and news media representations.