The role of Bomber Command in World War II is still shrouded in mystery. This book provides a new and revisionary narrative of the campaign, serving as both a military history and an investigation into how modern perceptions of Bomber Command have come about. It shows why Bomber Command — in one of the largest and bloodiest campaigns of the war with 55,000 aircrew lost — has received so much attention yet remains a lost sheep among British wartime glories, and is still dogged by controversy.

Russia's rich and varied tradition of enameling can be placed within the context of one of the earliest and most widely practiced forms of decoration. In the 11th century, Kiev closely adhered to the Byzantine traditions in producing the first Russian enamels. Progress was interrupted by the Mongol invasions in the 13th century. There was, however, a revival of the arts in the 16th century, and during the 17th century the Kremlin Armory in Moscow and various northern trading centers emerged as major bases for the manufacture of liturgical and secular enamels, while the program of westernization initiated by Peter the Great in the early 18th century attracted foreign artisans who brought their own techniques to the capital, St Petersburg. The 19th century closed with a dichotomy of styles: classicizing, courtly traditions flourished in St Petersburg, as demonstrated in the art of pre-eminent master Carl Faberge. However, Moscow served as the heart of the Russian Revival movement, and the vibrantly colored and exotic-looking revival enamels are also prized by collectors today. The enamels illustrated are from three sources: The Walters Art Gallery established in Baltimore by Henry Walters who patronized the Faberge firm in St Petersburg in 1900, the Hillwood Museum in Washington, D.C., housing Mrs Marjorie Merriweather Post's superb holdings of Russian and French 18th — and 19th-century decorative arts, and a private collector who has explored every aspect of the Russian Revival movement.

The KINO Russian Cinema series has been expanding to provide students and general readers with readable, companion handbooks to important and interesting films of Russian cinema from its beginnings to the late 1990s. This volume investigates the production, context and reception of the film Battleship Potemkin, the people who made it, and the film itself, including its place in Russian and World cinema.

The story of Soviet film in the period covered by Peter Kenez is central to the history of world cinema. The author explores the roots of Soviet cinema in the film heritage of pre-Revolutionary Russia; the changes in content, style, technical means, and production capacities generated by the Revolution of 1917; the constraints on form and subject imposed from the 1930s in the name of Socialist Realism; the relative freedom of expression accorded to film-makers during World War Two; and the extraordinary repression during the final years of the Stalin era.