Tobe Hooper's productions, which often trespassed upon the safety of the family unit, cast a critical eye toward an America in crisis. Often dismissed by scholars and critics as a one-hit wonder thanks to his 1974 horror classic The Texas Chain Saw Massacre, Hooper nevertheless was instrumental in the development of a robust and deeply political horror genre from the 1960s until his death in 2017. In American Twilight, the authors assert that the director was an auteur whose works featured complex monsters and disrupted America’s sacrosanct perceptions of prosperity and domestic security. American Twilight focuses on the skepticism toward American institutions and media and the articulation of uncanny spaces so integral to Hooper’s vast array of feature and documentary films, made-for-television movies, television episodes, and music videos. From Egg Shells (1969) to Poltergeist (1982), Djinn (2013), and even Billy Idol’s music video for “Dancing with Myself” (1985), Tobe Hooper provided a singular directorial vision that investigated masculine anxiety and subverted the idea of American exceptionalism.

Tobe Hooper's productions, which often trespassed upon the safety of the family unit, cast a critical eye toward an America in crisis. Often dismissed by scholars and critics as a one-hit wonder thanks to his 1974 horror classic The Texas Chain Saw Massacre, Hooper nevertheless was instrumental in the development of a robust and deeply political horror genre from the 1960s until his death in 2017. In American Twilight, the authors assert that the director was an auteur whose works featured complex monsters and disrupted America’s sacrosanct perceptions of prosperity and domestic security. American Twilight focuses on the skepticism toward American institutions and media and the articulation of uncanny spaces so integral to Hooper’s vast array of feature and documentary films, made-for-television movies, television episodes, and music videos. From Egg Shells (1969) to Poltergeist (1982), Djinn (2013), and even Billy Idol’s music video for “Dancing with Myself” (1985), Tobe Hooper provided a singular directorial vision that investigated masculine anxiety and subverted the idea of American exceptionalism.

The larger issue of defining hegemony and dominance has gained a greater importance over the last dozen years. Whether addressed explicitly or implicitly, it is the issue that lies behind the many recent books on international relations. The ongoing "financial crisis" has given these issues new urgency. This book provides new and startling evidence drawn from foreign exchange markets and capital flow statistics. They demonstrate that the problem dates back to the end of 2000 and has been driven by political events as much as structural economic issues. Combined with the development of a structural energy problem, the financial problem generated a global economic crisis that has not ended. In Twilight's Last Gleaming, Edmund Clingan uses economic measurements to establish measures of political and military power. Clingan examines the changes in these measurements over the last two hundred years to establish how international power relations have been affected by changes in economic power. He considers the factors that contribute to and detract from economic power. Using these quantitative measures, he provides consistent definitions of "dominance" and "hegemony" that should become commonly used and contribute to more precise discourse in history and political science. These tools uncover the deeper issues behind the current problems of the United States.

Reveals how Cold War U.S. presidents intervened in Latin America not, as the official argument stated, to protect economic interests or war off perceived national security threats, but rather as a way of responding to questions about strength and credibility both globally and at home.