Like its expression in music, fashion and design, punk's presence in cinema has been eclectic. Undoubtedly, a marked dimension of avant-garde auteurship has always featured in punk's relation with film. Punk cinema's association with the camp and the carnivalesque was continued in John Waters' Polyester. Several independent filmmakers developed a sustained relationship with punk as both, a theme and a source of creative inspiration. The early 1980s boom in independent filmmaking also brought several punk-oriented films centred on young women. As Nicholas Rombes observes, 'new punk cinema' was less a coherent, unified school of film than a loose set of filmmaking styles and production strategies informed by the sensibilities of punk. The democratic spur and antipathy to Hollywood orthodoxy has a distinct affinity with Stacy Thompson's 'punk cinema' ideals.

The first sighting of the Khasi Hills from the plains of Sylhet in June 1841 was a long anticipated moment for the missionary. Thomas Jones travelled up to Cherrapunji on the back of a mule, and his possessions were carried up the mountainside by a hundred 'coolies'. From the 1770s to the early 1840s, a succession of imperial agents confronted the mountains of the north-east from the plain at Pandua. Over sixty years before Thomas and Ann Jones ascended to Cherrapunji, Robert Lindsay stood in the foothills at Pandua. By the mid-1820s there were new reasons for a British foothold in the frontier. The desirability of establishing a medical station for invalids in the hills had first been suggested to the government by David Scott, Political Agent to the Governor-General on the north-east frontier of Bengal.

This provides a conclusion to the book. This is largely an analysis of the different themes which arise in the ‘reform’ treatises with which the book has been concerned.

This chapter offers a case study that delves into the life and death of one boy sailor in order to illuminate how a new egalitarian vision of manhood was best expressed through a naval example. In the midst of First World War uncertainties, the worries about delinquency led to general concerns about the state of British youth and British boyhood. Jack Cornwell's death presented educational authorities with the opportunity to extol the heroic conduct of Cornwell as a model of boyhood. The funeral service intended to serve as testament to Cornwell's heroic act and celebrated duty, obedience and sacrifice. Among the prominent extra-parliamentary and civic efforts to commemorate Cornwell's life were those of the Navy League and the Boy Scouts. The Cornwell Memorial Fund offered an opportunity to spark children's interest not only in the heroic Jack Cornwell but also in patriotism and the strategic importance of the British Navy.

The image of Imperial Airways as an organisation, and its iconic status in the Empire, hinged partly on its perceived efficiency and reliability, and partly on the impression created by its senior management. Indeed, Empire aviation traced the tiers, ceilings and colours of transport work in colonial shipping and railways. Promoters of Empire aviation, knowledgeable commentators and enthusiastic air travellers used maritime metaphors avidly. When the Empire-class flying boats entered service, Imperial instituted a new category of cabin crew to manage paperwork that included recording passenger and passport details, checking manifests of luggage, mail and freight, and handling customs documentation. British ground crews and support staff scattered around the Empire's airfields were probably reminded often about being representatives of their home country and its culture. Flagged aeroplanes and their flying crew came and went often, but ground personnel were more rooted.

In the Painted Hall, the four continents motif was incorporated into an explicit statement of contemporary British nationalism, emphasising the naval power and imperial expansion upon which national greatness was increasingly based. By the second half of the eighteenth century, the four continents had become a feature of the iconography of British country houses. It might be argued that the social exclusiveness of country houses, which were owned by a narrow group of elite males, limits their ability to serve as a means by which to examine broader cultural developments. When scholars note the increasing use of four continents imagery in eighteenth-century Britain, they tend to focus on its links to mercantilist visions of global relations, and to growing popular enthusiasm for empire. The four continents motif has been adapted to a British context, and for a royal purpose: to show the four realms over which the monarchy claimed sovereignty.

The first British Methodist missionaries came to Upper Burma in 1887 and the last left in 1966. They were known as 'Wesleyans' before 1932 and afterwards as 'Methodists'. Missionary societies built hospitals, clinics and schools as practical expressions of their Christian love, although critics dismissed them as instruments of cultural domination. Henry Venn, the impeccably evangelical Secretary of the Church Missionary Society (CMS), was the most distinguished and inspiring of nineteenth- century mission administrators. The early Wesleyan missionaries in Upper Burma were less racist than Southern Africa counterparts, but they were reluctant to criticise colonial authority and slow to embrace local church autonomy. Politics of proselytism rather than religious differences lay behind most battles with secular and Buddhist leaders in Upper Burma. The British public was fascinated by Burma, imagining it as an 'intangible' corner of a 'Boy's Own' empire.

Sir Cyril Radcliffe's use of administrative boundaries reinforced the impact of imperial rule. Radcliffe's award retained for the postcolonial states of India and Pakistan a central element of the legacy of imperial rule; the raj's political boundaries marked the stability of its rule. In both the Punjab and Bengal awards, Radcliffe discussed canals, canal headworks, roads, railways and ports before turning to population factors. The irrigation systems and other infrastructure of Punjab and Bengal had been built to function under a single administration. The 'sketch map' sent by Mountbatten's office is one of the most controversial elements of this story. The base map Radcliffe used to delineate his boundary in Kasur tehsil focuses on one particular means of British administrative control: the collection of taxes. The most detailed of Radcliffe's maps, the 'Map of Kasur Tehsil' was very large scale, at one inch to two miles.

The myth of Europa is often referred to as 'the rape of Europa'. Etymologically, it should be more accurately 'the rapes of Europa', implying both 'abduction' and/ or 'forced sexual intercourse'. The ambivalence of the vocabulary chosen by poets when considering this myth mirrors the troubling links between the rhetoric of persuasion and male fantasies of sexual coercion, between mythology and horror. This chapter contends that the reception of the Europa myth is more complex than either side may argue, then as now. It explains that the two poles of reception, cultural and scholarly, owe much to the subtleties of Moschus, Horace and Ovid's source texts. The chapter also shows how Elizabethan sonneteers and Shakespeare drew on these multiple levels of interaction, the ways they both played on different interpretations of the myth itself and interwove it with other myths.

As much of the documentation for various medieval hospitals is fragmentary and obscure, it is difficult to reach broad conclusions regarding the administrative model, physical composition, or daily life of a hospital over the entire course of its existence. However, the author does have ample documentation for a few hospitals that must serve anecdotally to illustrate the internal life of these communities. It is possible to ascertain some information regarding the social status and living conditions of lay staff of the hospital community from inventories such as the one for Ospedale Rodolfo Tanzi and as oblation ceremonies and testamentary bequests. On those occasions when the church officials did intercede in the affairs of the hospital, the outcome was often the imposition or reinforcement of a 'rule' or statute of operation.

Chapter 4 assesses the extent of Burke’s immediate influence on academic painters and explores their predilection for dramatic or terrifying subject matter. The correspondence between Burke and his protégé James Barry is examined as an example of the fascination exerted by the Enquiry on the painters of the pre-Romantic generation, and of their keenness to demonstrate the sublimity of painting through neoclassical principles. The rest of the chapter examines other examples of academic painters who addressed the Burkean challenge from the perspective of neoclassical aesthetics, and successfully conflated existing pictorial formulae with the new taste for terror. The work of Henry Fuseli, in particular, is presented as a conscious and informed response to contemporary theories of the sublime, including Burke’s, which sought dynamism, irrationalism and affective power while remaining within the boundaries of academic aesthetics.

Violence had been brewing in Punjab throughout 1946. A number of factors contributed to the carnage. One of the most important was the boundary award, specifically the timing of its announcement and rumours about its content. The government created a Punjab Boundary Force (PBF) to maintain law and order, but, undermanned and confronted by 'accurate sniping, bombing, and rifle and automatic fire', it was ineffective. Louis Mountbatten's press secretary, Alan Campbell-Johnson, accompanied the viceroy on a trip taken with Jawaharlal Nehru and Vallabai Patel to view the mass migration in the border areas. Until the 17 August announcement, people in Punjab knew where the boundary line had fallen. The boundaries that Cyril Radcliffe defined turned out to be restless divisions, and in 1965 and 1971 wars India and Pakistan battled over their Punjabi border. Pakistani bitterness against India and Indian bitterness against Pakistan are facts of life in South Asia.