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On the night of 22-23 April 1918 the Royal Navy carried out a raid on the German held ports of Zeebrugge and Ostend - Operation Z-O. Under the cover of clouds and smoke, over 70 ships and an assault force of 1,800 Royal Marines embarked on a daring mission which involved a vicious battle of incredible intensity. However, despite the gallant and courageous efforts of the attackers, 11 of whom were later awarded the Victoria Cross, the raid was only partly successful. Discover the successes and failures of this dramatic raid in this in-depth account, complete with specially commissioned battlescene artwork. The author reveals how despite failure, the raid demonstrated to Germany that Britain was still capable of offensive action, even as its armies were being forced back.
It was believed that September 11th would make certain kinds of films obsolete, such as action thrillers crackling with explosions or high-casualty blockbusters where the hero escapes unscathed. While the production of these films did ebb, the full impact of the attacks on Hollywood's creative output is still taking shape. Did 9/11 force filmmakers and screenwriters to find new methods of storytelling? What kinds of movies have been made in response to 9/11, and are they factual? Is it even possible to practice poetic license with such a devastating, broadly felt tragedy? Stephen Prince is the first scholar to trace the effect of 9/11 on the making of American film. From documentaries like Fahrenheit 9/11 (2004) to zombie flicks, and from fictional narratives such as The Kingdom (2007) to Mike Nichols's Charlie Wilson's War (2007), Prince evaluates the extent to which filmmakers have exploited, explained, understood, or interpreted the attacks and the Iraq War that followed, including incidents at Abu Ghraib. He begins with pre-9/11 depictions of terrorism, such as Alfred Hitchcock's Sabotage (1936), and follows with studio and independent films that directly respond to 9/11. He considers documentary portraits and conspiracy films, as well as serial television shows (most notably Fox's 24) and made-for-TV movies that re-present the attacks in a broader, more intimate way. Ultimately Prince finds that in these triumphs and failures an exciting new era of American filmmaking has taken shape.
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