Buda's Wagon


Book Description

On a September day in 1920, an angry Italian anarchist named Mario Buda exploded a horse-drawn wagon filled with dynamite and iron scrap near New York's Wall Street, killing 40 people. Since Buda's prototype the car bomb has evolved into a "poor man's air force," a generic weapon of mass destruction that now craters cities from Bombay to Oklahoma City. In this provocative history, Mike Davis traces the its worldwide use and development, in the process exposing the role of state intelligence agencies-particularly those of the United States, Israel, India, and Pakistan-in globalizing urban terrorist techniques. Davis argues that it is the incessant impact of car bombs, rather than the more apocalyptic threats of nuclear or bio-terrorism, that is changing cities and urban lifestyles, as privileged centers of power increasingly surround themselves with "rings of steel" against a weapon that nevertheless seems impossible to defeat.







Power Wagon


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Farmer Palmer's Wagon Ride


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The wagon ride from town is so hazardous that Farmer Palmer, a pig, and Ebenezer, an ass, barely make it home again.




The Commercial Vehicle


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LIFE


Book Description

LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.




Special Publication


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Motor Record


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Firestorm


Book Description

It was believed that September 11th would make certain kinds of films obsolete, such as action thrillers crackling with explosions or high-casualty blockbusters where the hero escapes unscathed. While the production of these films did ebb, the full impact of the attacks on Hollywood's creative output is still taking shape. Did 9/11 force filmmakers and screenwriters to find new methods of storytelling? What kinds of movies have been made in response to 9/11, and are they factual? Is it even possible to practice poetic license with such a devastating, broadly felt tragedy? Stephen Prince is the first scholar to trace the effect of 9/11 on the making of American film. From documentaries like Fahrenheit 9/11 (2004) to zombie flicks, and from fictional narratives such as The Kingdom (2007) to Mike Nichols's Charlie Wilson's War (2007), Prince evaluates the extent to which filmmakers have exploited, explained, understood, or interpreted the attacks and the Iraq War that followed, including incidents at Abu Ghraib. He begins with pre-9/11 depictions of terrorism, such as Alfred Hitchcock's Sabotage (1936), and follows with studio and independent films that directly respond to 9/11. He considers documentary portraits and conspiracy films, as well as serial television shows (most notably Fox's 24) and made-for-TV movies that re-present the attacks in a broader, more intimate way. Ultimately Prince finds that in these triumphs and failures an exciting new era of American filmmaking has taken shape.