"I thought I was desensitized. I'm not. No hope for humanity... I feel like my quest is over." Comment posted online in reaction to the video, 3 Guys 1 Hammer. Unlike images of sex, which were clandestine and screened only in private, images of death were made public from the onset of cinema. The father of the modern age, Thomas Edison, fed the appetite for this material with staged executions on film. Little over a century later the executions are real and the world is aghast at brutalities freely available online at the click of a button. Some of these films are created by lone individuals using shaky camera phones: Luka Magnotta, for instance, and the teenagers known as the Dnipropetrovsk maniacs. Others are shot on high definition equipment and professionally edited by organized groups, such as the militant extremists ISIS.KILLING FOR CULTURE explores these images of death and violence, and the human obsession with looking -- and not looking -- at them. Beginning with the mythology of the so-called 'snuff' film and its evolution through popular culture, this book traces death and the artifice of death in the 'mondo' documentaries that emerged in the 1960s, and later the faux snuff pornography that found an audience through Necrobabes and similar websites. However, it is when videos depicting the murders of Daniel Pearl and Nick Berg surfaced in the 2000s that an era of genuine atrocity commenced, one that has irrevocably changed the way in which we function as a society.

Argues that United States' creative class is fighting for survival and explains why this should matter to all Americans.

Unlike images of sex, which were clandestine and screened only in private, images of death were made public from the onset of cinema. The father of the modern age, Thomas Edison, fed the appetite for this material with staged executions on film. Little over a century later the executions are real and the world is aghast at brutalities freely available online at the click of a button. Some of these films are created by lone individuals using shaky camera phones: Luka Magnotta, for instance, and the teenagers known as the Dnipropetrovsk maniacs. Others are shot on high definition equipment and professionally edited by organized groups, such as the militant extremists ISIS. KILLING FOR CULTURE explores these images of death and violence, and the human obsession with looking — and not looking — at them. Beginning with the mythology of the so-called ‘snuff’ film and its evolution through popular culture, this book traces death and the artifice of death in the ‘mondo’ documentaries that emerged in the 1960s, and later the faux snuff pornography that found an audience through Necrobabes and similar websites. However, it is when videos depicting the murders of Daniel Pearl and Nick Berg surfaced in the 2000s that an era of genuine atrocity commenced, one that has irrevocably changed the way in which we function as a society.

On 26 August 1914 the world-famous university library in the Belgian town of Louvain was looted and destroyed by German troops. The international community reacted in horror - 'Holocaust at Louvain' proclaimed the Daily Mail - and the behaviour of the Germans at Louvain came to be seen as the beginning of a different style of war, without the rules that had governed military conflict up to that point - a more total war, in which enemy civilians and their entire culture were now 'legitimate' targets. Yet the destruction at Louvain was simply one symbolic moment in a wider wave of cultural destruction and mass killing that swept Europe in the era of the First World War. Using a wide range of examples and eye-witness accounts from across Europe at this time, award-winning historian Alan Kramer paints a picture of an entire continent plunging into a chilling new world of mass mobilization, total warfare, and the celebration of nationalist or ethnic violence - often directed expressly at the enemy's civilian population.

The leading journal devoted to all aspects of popular culture and cult media, "Headpress 25 "turns its attention to the Dream, or Flicker, machine. On this subject, it features interviews with William Burroughs-following a chance meeting at a bus stop by writers Johnny Strike and Gregory Daurer-and Paul Bowles. The cover is a striking oil painting of Burroughs in Tangiers. "Headpress 25 "also includes a detailed look at the neglected life and career of the late Luis de Jesus, a "star" of diminutive stature whose film appearances range from sadistic sidekick in the cult 1976 feature, "Blood Sucking Freaks," to numerous hardcore porn features, of which the most notorious is "The Anal Dwarf,"

How can those who seek to protect the "right to life" defend assassination in the name of saving lives? Carol Mason investigates this seeming paradox by examining pro-life literature—both archival material and writings from the front lines of the conflict. Her analysis reveals the apocalyptic thread that is the ideological link between established anti-abortion organizations and the more shadowy pro-life terrorists who subject clinic workers to anthrax scares, bombs, and bullets.The portrayal of abortion as "America's Armageddon" began in the 1960s. In the 1970s, Mason says, Christian politics and the post-Vietnam paramilitary culture popularized the idea that legal abortion is a harbinger of apocalypse. By the 1990s, Mason asserts, even the movement's mainstream had taken up the call, narrating abortion as an apocalyptic battle between so-called Christian and anti-Christian forces. "Pro-life violence of the 1990s signaled a move away from protest and toward retribution," she writes. "Pro-life retribution is seen as a way to restore the order of God. In this light, the phenomenon of killing for 'life' is revealed not as an oxymoron, but as a logical consistency and a political manifestation of religious retribution."Mason's scrutiny of primary sources (direct mail, internal memoranda, personal letters, underground manuals, and pro-life films, magazines, and novels) draws attention to elements of pro-life millennialism. Killing for Life is a powerful indictment of pro-life ideology as a coherent, mass-produced narrative that does not merely condone violence, but anticipates it as part of "God's plan."