Witnesses to War is a landmark history of Australian war journalism covering the regional conflicts of the nineteenth century to the major conflicts of the twentieth: World War I, World War II, Vietnam and Bosnia through to recent and ongoing wars in Iraq and Afghanistan. Fay Anderson and Richard Trembath look at how journalists reported the horrors and politics of war, the rise of the celebrity journalist, issues of censorship and the ethics of ‘embedding’. Interviews with over 40 leading journalists and photographers reveal the challenges of covering wars and the impact of the violence they witness, the fear and exhilaration, the regrets and successes, the private costs and personal dangers. Witnesses to War examines issues with continued and contemporary relevance, including the genesis of the Anzac ideal and its continued use; the representation of enemy and race and how technology has changed the nature of conflict reporting.

WITNESS TO WAR is an eye-opening retelling of the war experience through the private diaries kept by people from all walks of life and from many countries. The twentieth century's Second World War announced its arrival from a distance, and as early as spring 1938 city-dwellers across Europe expected destruction on an epic scale. Men, women and children, most of whom had never kept a diary before, began to chronicle their own responses to what they knew would be a unique moment in world history. The cast of characters represented in these diaries - more than three hundred in number - ranges from politicians, soldiers and spies to ordinary citizens and housewives, from a London schoolboy watching V-1 doodlebugs from his bedroom window to an interned German refugee robbed and beaten by British troops. Many others are famous, and this collection includes rare material from figures such as Joseph Goebbels, Joyce Grenfell, Jean-Paul Sartre, Evelyn Waugh and Noël Coward. It also contains the insights of many who were close to Winston Churchill and Adolf Hitler. Most of these diaries involved a degree of danger and secrecy. In occupied Europe a captured diary could betray friends and relatives to the enemy. Some were downright illegal, such as those kept by soldiers on the front line. More than half a century after the end of the war, these hidden treasures - the voices of the past - are still being unearthed. Many of these accounts languished unread, unpublished and gathering dust in scholarly archives around the world. Richard Aldrich has devoted two decades to sustained research in more than a dozen countries. This is war at first hand described in the most immediate terms, not mediated through the voice of peripheral observers or shaded by fading memory or political allegiances.

An account of the Battle of the Bulge told from the perspective of a female journalist who becomes trapped in the incredible struggle to hold off the German Army. The Battle of the Bulge...the Watch on the Rhine...the Ardennes Offensive...whatever name is used for this epic battle, it involved over a million men and was the largest land battle that the United States Army was involved in during the Second World War. This fictional account of Anna Krieg, a female news correspondent who is embedded with an American platoon in the Ardennes forest during the incredible saga of the last ditch effort by the German Army to reverse the tide of war strikes a true chord of dealing with the nature and the horror of war. Written and illustrated by Chuck Bordell, this graphic novel immerses itself in a realistic approach to warfare through the eyes of a naïve and innocent woman who finds herself trapped in a war she only thought she understood. "A hard-hitting, history-drenched account of World War II's Battle of the Bulge." ​- Nick Davis - Missoula News A Caliber Comics release.

Exploring the evolution of victim treatment in international criminal proceedings, this study highlights the shift from a documentary evidence-based approach to one prioritizing direct witness testimonies and a victim-centered perspective. It reveals how modern international and hybrid courts adapt to better understand and address victims' needs, especially those of vulnerable witnesses. Through qualitative methodology, including historical analysis, legal document review, and comparative analysis, the study examines key legal instruments, court rulings, and scholarly commentary. Distinguishing itself by integrating the author's firsthand experience as an international judge, it offers unique insights into the practical application of these principles. This blend of practical and academic perspectives provides a comprehensive understanding of the legal and practical aspects of victim treatment, making this study an invaluable resource for both scholars and practitioners in the field.

Siew seeks to examine the events that will unfold within the three and a half years before the dawn of the kingdom of God on earth. He argues that John composed the textual unit of Rev 11:1--14:5 as a coherent and unified literary unit structured in a macro-chiasm. He pays special attention to the fusion of form and content and seeks to elucidate how the concentric and chiastic pattern informs the meaning of the literary units within 11:1--14:5, and proposes that the text of 11:1--14:5 is best analyzed using Hebraic literary conventions, devices, and compositional techniques such as chiasm, parallelism, parataxis, and structural parallelism. The macro-chiastic pattern provides the literary-structural framework for John to portray that the events of the last three and a half years unfold on earth as a result of what transpires in heaven. Specifically, the war in heaven between Michael and the dragon has earthly ramifications. The outcome of the heavenly war where Satan is defeated and thrown out of heaven to earth results in the war on earth between the two beasts of Rev 13 and the two witnesses of Rev 11. The narrative of the war in heaven (12:7-12) is seen as the pivot of the macro-chiastic structure. Siew pays close attention to the time-period of the three-and-a-half years as a temporal and structural marker which functions to unite the various units in 11:1--14:5 into a coherent and integral whole. The events of the last days will be centred in Jerusalem.

The early 1990s saw Europes first conflict for almost 40 years when bitter fighting broke out in the former Yugoslav republic. Colonel Colm Doyle of the Irish Army found himself in the midst of this appalling civil war when in October 1991 he became first a European Community Monitor and almost immediately Head of the Monitor Mission in besieged Sarajevo. After six months he was appointed Personal Representative to Lord Carrington, Chairman of the Peace Conference on Yugoslavia.In this overdue memoir, he describes his role mediating, negotiating and persuading political and military leaders of all sides to halt the seemingly inexorable path to all-out war. He arranged ceasefires, visited prisoner-of-war camps, extricated election monitors and organised hostage releases. His experiences made him a key witness at the International Criminal Tribunal in The Hague at the trials of Milosevic, Mladic and Karadzic.With his unprecedented access, Doyles personal account can claim to be one of the most significant works on the brutal Bosnian War.

Rethinking the concepts of "witnessing" and "witness" is highly relevant to the study of war crimes, mass murder and genocide. Through multiple readings, the volume shows the meanings and functions of witnessing in a political and historical context marked by the emergence of multiculturalism. The ultimate goal is the exploration of divergent and intersectional positions of the witness and witnessing as both concrete and hermeneutical categories. As a result, the mechanisms of social, political, and psychological oppression, murder and genocide will become tangible and understandable with greater precision and finesse.

Mathew Brady recognized that the new art of photography could be more than just a means of capturing people's likenesses in portraits. Beginning with the First Battle of Bull Run in 1861 and continuing through the entire Civil War, Brady and his employees chronicled the long, bloody conflict, bringing images of war directly to the people. Brady knew the photos would create valuable historical records for later generations. More than any other photographer of his generation, Brady understood photography's great potential and through his influence, he taught others to understand it as well.

In the year 1740, with the whole of Europe balanced on the brink of war, a company of Austrian soldiers is sent to the village of Narutsin to defend the border with Prussia. But what should be a routine posting is quickly revealed to be anything but. The previous garrison is gone, the great house of Pokoj, where they're to be billeted, a dilapidated ruin, and the people of Narutsin sullen and belligerent. Convinced the villagers are keeping secrets - and possibly consorting with the enemy - the commanding officer orders his junior lieutenant, Klaes, to investigate. While Klaes sifts through the villagers' truths, half-truths and lies, Drozde, the quartermaster's woman, is making uncomfortable discoveries of her own - about herself, her man, and the house where they've all been thrown together. Because far from being the empty shell it appears to be, Pokoj is actually teeming with people. It's just that they're all dead. And the dead know things - about Drozde, about the history of Pokoj, and about the terrible event that is rushing towards them all, seemingly unstoppable. The ghosts of Pokoj, the soldiers of the empress and the villagers of Narutsin are about to find themselves actors in a story that has been unfolding for centuries. It will end in blood - that much is written - but how much blood will depend on Klaes' honour, Drozde's skill and courage, and the keeping of an impossible promise...