Except in a few instances, since World War II no American soldier or sailor has been attacked by enemy air power. Conversely, no enemy soldier orsailor has acted in combat without being attacked or at least threatened by American air power. Aviators have brought the air weapon to bear against enemies while denying them the same prerogative. This is the legacy of the U.S. AirForce, purchased at great cost in both human and material resources.More often than not, aerial pioneers had to fight technological ignorance, bureaucratic opposition, public apathy, and disagreement over purpose.Every step in the evolution of air power led into new and untrodden territory, driven by humanitarian impulses; by the search for higher, faster, and farther flight; or by the conviction that the air way was the best way. Warriors have always coveted the high ground. If technology permitted them to reach it, men, women andan air force held and exploited it-from Thomas Selfridge, first among so many who gave that "last full measure of devotion"; to Women's Airforce Service Pilot Ann Baumgartner, who broke social barriers to become the first Americanwoman to pilot a jet; to Benjamin Davis, who broke racial barriers to become the first African American to command a flying group; to Chuck Yeager, a one-time non-commissioned flight officer who was the first to exceed the speed of sound; to John Levitow, who earned the Medal of Honor by throwing himself over a live flare to save his gunship crew; to John Warden, who began a revolution in air power thought and strategy that was put to spectacular use in the Gulf War.Industrialization has brought total war and air power has brought the means to overfly an enemy's defenses and attack its sources of power directly. Americans have perceived air power from the start as a more efficient means of waging war and as a symbol of the nation's commitment to technology to master challenges, minimize casualties, and defeat adversaries.
In the pantheon of air power spokesmen, Giulio Douhet holds center stage. His writings, more often cited than perhaps actually read, appear as excerpts and aphorisms in the writings of numerous other air power spokesmen, advocates-and critics. Though a highly controversial figure, the very controversy that surrounds him offers to us a testimonial of the value and depth of his work, and the need for airmen today to become familiar with his thought. The progressive development of air power to the point where, today, it is more correct to refer to aerospace power has not outdated the notions of Douhet in the slightest In fact, in many ways, the kinds of technological capabilities that we enjoy as a global air power provider attest to the breadth of his vision. Douhet, together with Hugh “Boom” Trenchard of Great Britain and William “Billy” Mitchell of the United States, is justly recognized as one of the three great spokesmen of the early air power era. This reprint is offered in the spirit of continuing the dialogue that Douhet himself so perceptively began with the first edition of this book, published in 1921. Readers may well find much that they disagree with in this book, but also much that is of enduring value. The vital necessity of Douhet’s central vision-that command of the air is all important in modern warfare-has been proven throughout the history of wars in this century, from the fighting over the Somme to the air war over Kuwait and Iraq.
Canadian-born flying ace Raymond Collishaw (1893–1976) served in Britain’s air forces for twenty-eight years. As a pilot in World War I he was credited with sixty-one confirmed kills on the Western Front. When World War II began in 1939, Air Commodore Collishaw commanded a Royal Air Force group in Egypt. It was in Egypt and Libya in 1940–41, during the Britain’s Western Desert campaign, that he demonstrated the tenets of an effective air-ground cooperation system. Flying to Victory examines Raymond Collishaw’s contribution to the British system of tactical air support—a pattern of operations that eventually became standard in the Allied air forces and proved to be a key factor in the Allied victory. The British Army and Royal Air Force entered the war with conflicting views on the issue of air support that hindered the success of early operations. It was only after the chastening failure of Operation Battleaxe in June 1941, fought according to army doctrine, that Winston Churchill shifted strategy on the direction of future air campaigns—ultimately endorsing the RAF's view of mission and target selection. This view adopted principles of air-ground cooperation that Collishaw had demonstrated in combat. Author Mike Bechthold traces the emergence of this strategy in the RAF air campaign in Operation Compass, the first British offensive in the Western Desert, in which Air Commodore Collishaw’s small force overwhelmed its Italian counterpart and disrupted enemy logistics. Flying to Victory details the experiences that prepared Collishaw so well for this campaign and that taught him much about the application of air power, especially how to work effectively with the army and Royal Navy. As Bechthold shows, these lessons learned altered the Allied approach to tactical air support and, ultimately, changed the course of the Second World War.
Director and producer Tim Burton impresses audiences with stunning visuals, sinister fantasy worlds, and characters whose personalities are strange and yet familiar. Drawing inspiration from sources as varied as Lewis Carroll, Salvador Dalí, Washington Irving, and Dr. Seuss, Burton's creations frequently elicit both alarm and wonder. Whether crafting an offbeat animated feature, a box-office hit, a collection of short fiction, or an art exhibition, Burton pushes the envelope, and he has emerged as a powerful force in contemporary popular culture. In The Philosophy of Tim Burton, a distinguished group of scholars examines the philosophical underpinnings and significance of the director's oeuvre, investigating films such as Batman (1989), Edward Scissorhands (1990), The Nightmare before Christmas (1993), Sleepy Hollow (1999), Big Fish (2003), Sweeney Todd (2007), Alice in Wonderland (2010), and Dark Shadows (2012). The essays in this volume explore Burton's distinctive style, often disturbing content, and popular appeal through three thematic lenses: identity, views on authority, and aesthetic vision. Covering topics ranging from Burton's fascination with Victorian ideals, to his celebration of childhood, to his personal expression of the fantastic, the contributors highlight the filmmaker's peculiar narrative style and his use of unreal settings to prompt heightened awareness of the world we inhabit. The Philosophy of Tim Burton offers a penetrating and provocative look at one of Hollywood's most influential auteurs.