Books by Glenn Reynolds

For two decades, Americans have engaged in a vast campaign to clean up our ethical act in politics, in the workplace, and in local communities. We have crafted a mountain of regulations, created vast networks of committees and consultants, and become accustomed to speaking of such taboos as "conflicts of interest" and "the appearance of impropriety". Perhaps one statistic says it best: Corporations currently spend over $1 billion per year on ethics consultants. Yet at the same time, our confidence that politicians and businesspeople will "do the right thing" has dropped to an all-time low. Our ethics efforts have failed. As Peter Morgan and Glenn Reynolds entertainingly and devastatingly describe, we have made legitimate ethical concerns into absurd standards, and wielded our moral whims like dangerous weapons. The Appearance of Impropriety offers a bracing antidote for executives, group leaders, and anyone in public life: A reminder of some basic rules of good conduct that must be taken back from the pundits and bureaucrats that surround us.

Glenn Reynolds, the man behind the immensely popular Instapundit.com, provides an in-depth, big-picture point-of-view for a world where the small guys matter more and more. Reynolds explores the birth and growth of the individual's surprisingly strong influence in: arts and entertainment, anti-terrorism, nanotech and space research, and much more.

In recent decades historians and film scholars have intensified their study of colonial cinema in Africa. Yet the vastness of the continent, the number of European powers involved and irregular record keeping has made uncovering the connections between imagery, imperialism and indigenous peoples difficult. This volume takes up the challenge, tracing production and exhibition patterns to show how motion pictures were introduced on the continent during the "Scramble for Africa" and the subsequent era of consolidation. The author describes how early actualities, expeditionary footage, ethnographic documentaries and missionary films were made in the African interior and examines the rise of mass black spectatorship. While Africans in the first two decades of the 20th century were sidelined as cinema consumers because of colonial restrictions, social and political changes in the subsequent interwar period--wrought by large-scale mining in southern Africa--led to a rethinking of colonial film policy by missionaries, mining concerns and colonial officials. By World War II, cinema had come to black Africa.