A growing body of literature claims that criticism by left-wing circles of Israel and Zionism is a manifestation of a ‘new antisemitism’. Its newness is alleged to reside in masquerading hatred of Jews as opposition to the Israeli state. This chapter scrutinises the arguments of some of the principal proponent of this thesis and looks at the empirical evidence for the alleged link between hostility to Israel and attacks on Jews recorded by the police in Greater London. It also considers the claim that pro-Palestinian activists and organisations have promoted antisemitism and argues that this charge is unfounded. A contrary view that the ‘new antisemitism’ thesis seek to invalidate legitimate criticism of Israel and in the process obfuscates that Islamophobia rather than antisemitism forms the dominant racism in contemporary Europe is also examined.

This chapter analyses the relationship which developed between the Italian police and fascism, first as a movement, later as a government. Consequently, the Italian Public Security Law of 1865 gave the police the power to impose limits on the rights of free speech, association and public assembly granted by the liberal constitution of 1848. Widespread backing of Benito Mussolini's fascist movement among policemen reflected a culmination in long-term professional malaise which coincided with the acceleration in social tensions characterising the years immediately following the First World War. Police support for the fascist movement was largely a consequence of the institutional crisis faced after the war. Emilio Saracini would subsequently declare that he had experienced Mussolini's ascendancy as a form of liberation, in the belief that it would fulfil his desires for reform.

This chapter focuses on optical crackle and ground noise as sounds which signal just such a sense of the past, and on the quality of compression that contributes to the sonic signature of older film soundtracks. Central to the discussion that follows are two key observations that emerge from the analysis discussed in the chapter. Firstly, that ground noise is constant, and secondly, that film sound is compressed in terms of both its dynamic range and frequency range. In the case of optical crackle and ground noise, the chapter argues that convention operates within a complex of perceptual and cognitive processes set in motion by the drone-like qualities of the sound of technology. It then illustrates relationships between virtual and actual images and sounds.

Law enforcement initiatives at sea are increasingly dependent on tracking vessel movements. Ship operators engaged in nefarious activities, such as weapons trafficking, piracy, and economic sanctions circumvention, attempt to operate in the shadows. But regulatory authorities and compliance-attuned commercial actors are now carefully keeping watch by analyzing vessel tracking data through new technologies that combine automatic identification system (AIS) transmissions with sophisticated satellite imagery enhanced by artificial intelligence and machine learning. Many of these products are now commercially available for legal compliance purposes, which can be especially helpful in aiding shipping industry participants in evaluating risk. At the same time, such technologies may be embraced by malign actors aiming to target merchant vessels for hostile attacks. This chapter examines these promises and perils of new vessel tracking developments. First, it traces the history of vessel tracking under international legal instruments, including AIS obligations flowing from the Safety of Life at Sea (SOLAS) Convention, as amended. It then explores the ways in which AIS transmissions have been adopted for various maritime law enforcement and compliance purposes. Finally, it highlights recent technological innovations in vessel tracking that create both enhanced transparency and new risks for commercial vessels operating at sea.

This chapter sketches out aspects of the economic and cultural dimensions of The Lord of the Rings (LOTR) 'films in space', and explores the 'spaces in the films', most particularly its rural spaces. It focuses on the notions of 'spaces of film' and 'film in space' to examine rural socio-spatial identities being performed within and around the film industry of New Zealand. New Zealand has been described as 'Britain's Farm' and it may well be that the imagined geographies of the rurality of New Zealand and England are for many people not as distinct as their spatial differentiation might suggest. The chapter also explores one particular space of film by considering the economic and the cultural impacts of the film in Aotearoa/New Zealand. If the films enact an imaginative geography involving movement through differing constructions of rural space, they also enact movement through imaginative geographies of nature as well.

Court ceremonies created, expressed, and maintained a hierarchy of dominance and deference, providing a detailed demarcation of the rank and power of court nobles and their relationship to the king. Charles d'Albert, duc de Luynes and the king used the distribution of knighthoods to reward faithful servants of the crown, especially those who had helped them to get rid of Concini. They withheld knighthoods to punish those who continued to support the Queen Mother. The pamphleteers accused Luynes of naming new knights from obscure families by the dozens, describing them as 'low-born poltroons.' The pamphleteers accused Luynes of filling the royal council and high government offices with so many clients that a 'cabal of luynistes' surrounded the king, giving him bad advice, driving everyone else away, and corrupting the government.