If you are into the martial arts, self-defense and combative fields this is a book that explores the many myths, misconceptions, facts and fallacies surrounding the martial arts, self-defense and combatives. This is actually a two volume set but each one can stand alone. Volume two covers Facts and Fallacies about law enforcement and defensive tactics. This is just a small sample of the many questions you will find answers to in this manual: - What martial art has the best punching techniques - What martial art has the best throwing techniques - What martial art has the best grappling techniques - Can a black belt defeat any street fighter - Are Asian instructors always the best teachers - Are there any American martial arts masters - Are all black belts experts in self-defense - Do all martial arts really teach practical street wise self-defense This is a book for anyone interested in learning the truth and facts about the martial arts and self-defense.

This is a manual will be of interest to not only all Law Enforcement Defensive Tactics Instructors, but to anyone in the law enforcement field who is concerned about the facts and fallacies floating around this field. The following are just a sample of the questions this basic guide will answer: - Is law enforcement defensive tactics a science - Do the techniques and tactics you were taught always work on the street - What is reality based training as it applies to defensive tactics - Is there any formal martial art which is perfect for police officers - Should officers be taught striking techniques - Is the PR-24 Police Baton just a Tonfa - Is training once a year sufficient to remain competent in defensive tactics

Besides the body's natural weapons, we also emphasize how to use five basic weapons that can relate to numerous other common items for self-defense purposes. They include the following: The Short Stick, the Straight Stick (Straight Baton), the Side Handle (PR-24 Baton), the Knife and the Gun are the primary weapons in the Pro-Systems Combatives program.

Race does not exist in animation—it must instead be constructed and ascribed. Yet, over the past few years, there has been growing discourse on the intersection of these two subjects within both academic and popular circles. In Race and the Animated Bodyscape: Constructing and Ascribing a Racialized Asian Identity in "Avatar" and "Korra," author Francis M. Agnoli introduces and illustrates the concept of the animated bodyscape, looking specifically at the US television series Avatar: The Last Airbender and its sequel, The Legend of Korra. Rather than consider animated figures as unified wholes, Agnoli views them as complexes of signs, made up of visual, aural, and narrative components that complement, contradict, and otherwise interact with each other in the creation of meaning. Every one of these components matters, as they are each the result of a series of creative decisions made by various personnel across different production processes. This volume (re)constructs production narratives for Avatar and Korra using original and preexisting interviews with cast and crew members as well as behind-the-scenes material. Each chapter addresses how different types of components were generated, tracing their development from preliminary research to final animation. In doing so, this project identifies the interlocking sets of production communities behind the making of animation and thus behind the making of racialized identities. Due to its illusory and constructed nature, animation affords untapped opportunities to approach the topic of race in media, looking beyond the role of the actor and taking into account the various factors and processes behind the production of racialized performances. The analysis of race and animation calls for a holistic approach, one that treats both the visual and the aural as intimately connected. This volume offers a blueprint for how to approach the analysis of race and animation.