This chapter investigates La Motte’s experiences nursing in a French military hospital by using primary sources such as diaries and letters. By incorporating these items, this chapter documents La Motte’s understanding of the meaning of the war and how she originally recorded her reactions to caring for gravely injured patients and working with an international nursing group. It also studies how she transformed her initial impressions into the sketches that constitute her book, The Backwash of War, published in 1916. A reading of the published work alongside her diary allows for an investigation of how those accounts differ and how her representative practices evolved in regard to her memories of World War One. Taken together, her powerful depictions of the inside of a military hospital offer the opportunity to examine how personal and professional experiences and motivations intersected to forge distinct memories and narratives of the failures and triumphs of hospital work during the Great War.

North Korea's demonstrated nuclear ambition does substantially increase the risk of a nuclear arms race in the region and an escalation of the security situation with possible global consequences. A critical approach to Korean security must challenge the equation of realist ideology with objectivity and commonsense. The confrontational approach is exemplified by US foreign policy towards North Korea. The more tolerant South Korean position of the last few years suggests a willingness to normalize relations with North Korea and integrate it into the world community. But integration and normalization are terms that indicate processes of adjustment to one standard norm; a desire to erase difference in favour of a single identity practice. The immediate objective of engagement, as articulated by the Sunshine Policy, may well be to avoid an open conflict or a sudden collapse of North Korea, but the underlying rationale remains a desire to annihilate the other side.

At the beginning of 1910, D. W. Griffith had persuaded a reluctant Biograph to let him move his production base to California to take advantage of filmmaking in a very different climate. Justly commended for its carefully constructed and edited story and its exciting cross-cut climax, The Lonedale Operator marks a significant point in Griffith's development. There does seem to be quite a lot of evidence that German directors in particular accepted the cross-line edit schema as a necessary and relevant structuring device and occasionally it is possible to discover the schema being used in a quite complex way. Ewald André Dupont, born and educated in Germany, began his filmmaking career in 1917. Love Me and the World is Mine, one of his direction, was not considered a great success, and Dupont came to England and made two British/German co-productions, Moulin Rouge and Piccadilly, both filmed at Elstree Studios.

D.W. Griffith's approach to filmmaking was essentially personal and intuitive. He never worked from a script, even when making a film as long and complex as The Birth of a Nation. His The Mother and the Law was based loosely on the events at the Rockefeller Colorado Fuel and Iron Company. If there is some ambivalence about Griffith's intention, there can be no doubt that the discontinuity is not regarded by Griffith as unacceptable. The jumps and mismatches in Intolerance generate a tension within scenes which transcends continuity, the jaggedness of the cutting contributing to the content. Griffith's contribution to the development of filmmaking had been immeasurable throughout the Biograph years, he had taken a primitive form of cinema and refined it. Others were now building on his work and moving it in a different direction. Intolerance might be seen as a monument to alternative possibilities.

Catholic factions represented thoughts which may have been secretly held by many, an unspoken, illegal counter-history, which read the revolution of the past as a tragedy and looked for liberation in the future, in the counter-space of an invading army. William Shakespeare's near-contemporary Sir Philip Sidney defended poetry in The Defence of Poesy by arguing that 'the artists, and especially the historian, affirming many things, can, in the cloudy knowledge of mankind, hardly escape from many lies'. The struggle between the artist and Clio is the subject of the most famous and the most modern depiction of Clio: Vermeer's The Allegory of Painting. Whether in the bored gaze of Le Sueur and De Stella's paintings or in Van Balen's depiction of history as an ecstatic dance, Clio is an ambivalent figure for history. Finally, the chapter also presents an outline of this book.

A radical shift in the velocity and volume of general mobility was a sine qua non of mass emigration. The pre-existing shape of labour mobilities set the context for the emergence of mass emigration. The beginnings of mass emigration were located in the British Isles in the 1820s, but the scale of the discontinuity requires a measure of the circumstances before the change. Modern mass mobility erupted in the western world in the early nineteenth century, especially in Victorian times. The case of Alexander Somerville in Scotland provides a standard pattern for mobility in the transitional age. English historians have long identified an array of categories of mobility in the pre-modern population, some long-distance, some seasonal, some local and circulatory. A composite picture has emerged which emphasises the essential fluidity of the population before industrialisation, of people in localised motion and perhaps increasingly so.

This reading of Fear Eats the Soul sees colour as crucial to the apparently contradictory elements of Fassbinder's powerful 'antistyle'. A consideration of Fear Eats the Soul after Written on the Wind matches Fassbinder's ardent following of Douglas Sirk's melodramatic art. The reading of is presented as a short, dense take on one of Fassbinder's 'short, tough tales. Fassbinder's aesthetic is rife with impulses pushing in different directions: putative opposites that somehow mesh. Thomson describes a cinema of social realism and formal experimentalism. Fassbinder fills everyday settings with artifice and illusion to get to life's truths. His films comprise an immersion in the plastic arts of cinema, celebrating the medium's potentialities even as they pull it apart. Repeatedly across his films, tables, coverings, and the walls of empty or sparingly occupied settings appear in searing colours.

Most of the islands of Britain were largely unaffected by direct industrialisation before 1850: they were on the periphery of the great changes. The Isle of Man provides relatively straightforward conditions in which to examine the operations of migratory flows in a context which remained primarily rural, with some mining and fishing as secondary factors. The emigration records of the Isle of Man and Guernsey display great contrasts in their trajectories, though the final shape was rather similar. The Isle of Man was only marginally affected by the emigrations, though population pressure slowly diminished during the rest of the nineteenth century. Dramatic and sudden exoduses of several hundred people from the Isle of Man began in the mid-1820s. It was essentially a concentrated outflow of Manx people to Ohio, where the emigrants developed strong connections which were sustained for more than a century.