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Gathered together within the pages of this book is a roguish array of artful tricksters, fantastic fakers, rascally fraudsters and cunning conmen. They all bend the rules and usually the law. Yet however reprehensible their misdeeds, these thoroughly rotten scoundrels often display the very essence of enterprise and adventure. It would be wrong to condone their antics, of course, but it is difficult not to admire their artifice. After all, this sort of raffish crime has spawned scores of anti-heroes in books, movies and TV series. But the stories told here are all true – among the most barely-believable dodgy misdeeds of the past two centuries. Powerful motives drive this book’s extraordinary characters as they rampage on the wrong side of the law. Greed is the most usual, ambition is another, lust sometimes plays a compelling part. But many are compelled by no other cause than a perverted sense of adventure. It is these various forces that link the disparate bunch of characters in this fascinating catalogue of crime. If, as the saying goes, ‘the Devil has the best tunes’, he certainly also has some of the best stories – and here are some of the most startling case histories. Together they’re the diabolically fiendish work of History’s Most Daring Rogues and Villains.
From the back pages of history, vivid, entertaining portraits of little-known scoundrels whose misdeeds range from the simply inept to the truly horrifying.
In this book, Pablo Castrillo Maortua analyzes the emergence of the political thriller in Hollywood at a time of angst and turmoil in the United States. The Cold War, the nuclear age, domestic and international scandals, and an increasingly deceitful political culture catalyzed a filmmaking current that would gradually develop its own narrative form and aesthetics into a new genre. Castrillo Maortua explores the dramatic identity and design of the American political thriller, tracking the close correlation between the evolution of the genre and the history of the United States from the Cuban Missile Crisis to the 9/11 terrorist attacks and the ensuing War on Terror. Ultimately, the author demonstrates how the American political thriller defies Hollywood conventions and cultural presuppositions with an entertaining yet critical view of the state of politics. Scholars of film studies, screenwriting, and genre theory will find this book of particular interest.
The combat with crime is as old as civilization. Unceasing warfare is and ever has been waged between the law-maker and the law-breaker. The punishments inflicted upon criminals have been as various as the nations devising them, and have reflected with singular fidelity their temperaments or development. This is true of the death penalty which in many ages was the only recognized punishment for crimes either great or small. Each nation has had its own special method of inflicting it. One was satisfied simply to destroy life; another sought to intensify the natural fear of death by the added horrors of starvation or the withholding of fluid, by drowning, stoning, impaling or by exposing the wretched victims to the stings of insects or snakes. Burning at the stake was the favourite method of religious fanaticism. This flourished under the Inquisition everywhere, but notably in Spain where hecatombs perished by the autos-da-fŽ or "trials of faith" conducted with great ceremony often in the presence of the sovereign himself. Indeed, so terrible are the records of the ages that one turns with relief to the more humane methods of slowly advancing civilization,Ñthe electric chair, the rope, the garotte, and even to that sanguinary "daughter of the Revolution," "la guillotine," the timely and merciful invention of Dr. Guillotin which substituted its swift and certain action for the barbarous hacking of blunt swords in the hands of brutal or unskilful executioners. Savage instinct, however, could not find full satisfaction even in cruel and violent death, but perforce must glut itself in preliminary tortures. Mankind has exhausted its fiendish ingenuity in the invention of hideous instruments for prolonging the sufferings of its victims. When we read to-day of the cold-blooded Chinese who condemns his criminal to be buried to the chin and left to be teased to death by flies; of the lust for blood of the Russian soldier who in brutal glee impales on his bayonet the writhing forms of captive children; of the recently revealed torture-chambers of the Yildiz Kiosk where Abdul Hamid wreaked his vengeance or squeezed millions of treasure from luckless foes; or of the Congo slave wounded and maimed to satisfy the greed for gold of an unscrupulous monarch;Ñwe are inclined to think of them as savage survivals in "Darkest Africa" or in countries yet beyond the pale of western civilization. Yet it was only a few centuries ago that Spain "did to death" by unspeakable cruelties the gentle races of Mexico and Peru, and sapped her own splendid vitality in the woeful chambers of the Inquisition. Even as late as the end of the eighteenth century enlightened France was filling with the noblest and best of her land those oubliettes of which the very names are epitomes of woe: La Fin d'Aise, "The End of Ease;" La Boucherie, "The Shambles;" and La Fosse, "The Pit" or "Grave;" in the foul depths of which the victim stood waist deep in water unable to rest or sleep without drowning. Buoyed up by hope of release, some endured this torture of "La Fosse" for fifteen days; but that was nature's limit. None ever survived it longer.