The companion volume to the groundbreaking TV series, this book tells the story of the physical, emotional and psychological journey of Allied soldiers from the beaches of Normandy to the ruins of Berlin. In their own words these brave men from Britain, the United States, Canada and Russia tell us what it was like to face the bullets, bombs, mortars, mines and artillery shells of Nazi Germany. Interviews with over 80 soldiers who fought in the conflict, totalling 150 hours, provide a new perspective on the experiences of 1944–45. Building on the high-speed, multi-camera filming of World War II weapons and munitions shown in the TV series, this book brings the terrifying reality of the war to life. Technical descriptions and the experiences of the men in the field explain the dramatic power and effect that this weaponry had on the battlefield, from the sinister simplicity of the deadly AP mine through to the immense firepower of the 88mm gun, giving the modern historian a unique insight into the last days of the war for the troops on the frontline. This is not a history of generals, of armies manoeuvring and strategic objectives. World War II: The Last War Heroes is a book about the ordinary men put into incredible situations, deprived of sleep and food, and in constant fear of death on the long road to victory.

Taking the “tidal wave” of memory in the late twentieth and early twenty-first century as its starting point, this monograph explores collective memory of World War II in East Asia (1937–1945) through film. Weiss argues that Chinese, Japanese, and American remembrance of World War II is intertwined in what she terms a “memory loop,” the transnational mediation and remediation of war narratives. Gender is central to this process, as the changing representation of male soldiers, political leaders, and patriarchal father figures within these narratives reveals Japanese and Chinese challenges to each other and to the perceived “foundational” American narrative of the war. This process continues to intensify due to the globally visible nature of the memory loop, which drives this cycle of transmission, translation, and reassessment. This volume is the first to bring together a collection of Chinese and Japanese war films that have received little attention in English-language literature. It also produces new readings of popular war memory in East Asia by revealing the gendered dimensions of collective remembrance in these films. “This awesome book shows how Chinese and Japanese films about the Second World War both reflect and shape memories of that conflict. Moreover, by analyzing movies about the war and the ensuing ‘competing masculinities,’ Amanda Weiss skillfully discloses their impact on subsequent conceptions of race, gender, and identity. Highly recommended.” —Kam Louie, University of Hong Kong “Amanda Weiss, who views film as a significant mode of popular memory traveling beyond national border, discovers a loop of mutual interaction in the representation of Chinese and Japanese war films deeply intertwined with the nationalism of both countries. Her skill in capturing the intersection of cross-border memories in visual images such as the Tokyo Trials, warrior, rape, and reconciliation is remarkable. This is a transcendent achievement that could only be accomplished by Weiss, who fully understands both Japanese and Chinese languages and deeply understands the movements of consciousness among the people of these countries during her long stay in Japan and China.” —Shunya Yoshimi, University of Tokyo 日本語原文： 1980年代以降、日本と中国の戦争映画は、まったく異なる方向に向かい、それぞれナショナリスティックな語りを発達させてきたと考えられている。しかし、映画とはトランスナショナルな大衆的記憶の技術であると考えるヴァイスは、この両国のナショナリズムと根深く結びついた戦争映画の表象に、国境を越える相互の作用や反作用のループがあることを発見していく。彼女が東京裁判、戦士の表象、レイプ、和解といった映像イメージの中に国境を越える記憶の交錯を捉える手際は鮮やかである。本書はそれ自体、日中の言語を完全に理解し、日本で長く暮らす中でこの国の人々の意識のうごめきを深く理解し、フィルム・スタディーズはもちろん、アジアの近現代史やカルチュラル・スタディーズ、ジェンダー・スタディーズを知悉したヴァイスでなければできない越境的な達成である。

Nazi Germany's MP 38 and MP 40 submachine guns are among World War II's most recognizable weapons. Portable and with folding stocks, both were widely issued to airborne troops and became the hallmark of Germany's infantry section and platoon leaders. A million were produced during the conflict – and many found their ways into the hands of paramilitary and irregular forces from Israel to Vietnam after the war. Featuring specially commissioned full-color artwork and period and close-up photographs, this is the story of the origins, combat use, and lasting influence of two of World War II's most famous firearms.

This “important comprehensive study” of WWII in the Pacific examines the high-level decision-making and strategy that led to victory (Roanoke Times). Once the stories have been told of battles won and lost, most of what happens in a war remains a mystery. So it has been with accounts of World War II in the Pacific, a complex conflict whose nature is often obscured by simple chronological narratives. In The Pacific War, William B. Hopkins, a Marine Corps veteran of the Pacific war and respected military history author, opens the story of the Pacific campaign to a broader and deeper view. Hopkins investigates the strategies, politics, and personalities that shaped the fighting. His regional approach to this complex war conducted on land, sea, and air offers an insightful perspective on how this multifaceted conflict unfolded. As expansive as the immense reaches of the Pacific, and as focused as the most intensive pinpoint attack on a strategic island, Hopkins’ account offers a fresh way of understanding the hows—and more significantly, the whys—of the Pacific War.

In Autumn 1943 the Battle of the Atlantic, World War II’s longest seagoing campaign, reached a new crescendo. Anti-submarine aircraft and ships using new tactics, technologies, and weaponry dominated a seascape where German U-boats once ruled supreme. But then unexpectedly, in eerie, mid-ocean darkness, an elemental hull-to-deck, sailor-to-submariner duel erupted. On Halloween Eve, U.S. Navy destroyer Borie, an outmoded, thin-skinned “tin can” of World War I vintage, set out alone to track down an elusive U-boat. Borie had thus far toiled in the war’s backwaters, her crew of young reservists anxious to prove its mettle. When Borie trapped U-405 on the surface, that chance arrived. As Borie’s deck guns unleashed withering fire and U-405’s skipper angled his submarine to launch torpedoes, Borie’s young skipper—a salesman in civilian life--resorted to the original (and once the only) means of sinking a submarine: ramming, full speed ahead, consequences be damned. Borie’s slashing collision with U-405 ignited a swashbuckling, no-holds-barred brawl of cannons, machine guns, small arms, and even knives and spent shell casings. In the wreckage-strewn aftermath, desperate sailors on both sides fought for survival in a heaving, frigid, unforgiving sea. Duel in the Deep weaves together high-stakes strategy and lethal gamesmanship with poignant human backstories, pounding air/surface/subsurface action, epic heroism, and wrenching sacrifice. A former U.S. Navy officer and “tin can” veteran—now a seasoned, widely published and highly acclaimed military historian—portrays a rousing high-seas showdown reminiscent of fighting in the age of sail.

John Huston as Adaptor makes the case that adaptation is the salient element in Huston's identity as a filmmaker and that his early and deep attraction to the experience of reading informed his approach to film adaptation. Thirty-four of Huston's thirty-seven films were adaptations of literary texts, and they stand as serious interpretations of literary works that could only be made by an astute reader of literature. Indeed, Huston asserted that a film director should be above all else a reader and that reading itself should be the intellectual and emotional basis for filmmaking. The seventeen essays in this volume not only address Huston as an adaptor, but also offer an approach to adaptation studies that has been largely overlooked. How an adaptor reads, the works to which he is drawn, and how his literary interpretations can be brought to the screen without relegating film to a subservient role are some of the issues addressed by the contributors. An introductory chapter identifies Huston as the quintessential Hollywood adaptor and argues that his skill at adaptation is the mark of his authorial signature. The chapters that follow focus on fifteen of Huston's most important films, including The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The African Queen (1951), The Night of the Iguana (1964), Under the Volcano (1984), and The Dead (1987), and are divided into three areas: aesthetics and textuality; history and social context; and theory and psychoanalysis. By offering a more comprehensive account of the centrality of adaptation to Huston's films, John Huston as Adaptor offers a greater understanding of Huston as a filmmaker.