The article notes a trend towards low-key naturalism in twenty-first-century independent queer cinema. Focusing on work by Andrew Haigh, Travis Mathews and Ira Sachs, it argues that this observational style is welded to a highly meta-cinematic engagement with traditions of representing non-straight people. The article coins the term ‘New Gay Sincerity’ to account for this style, relating it to Jim Collins’s and Warren Buckland’s writing on post-postmodern ‘new sincerity’. At its crux, this new style centres itself in realism to record non-metropolitan, intimate and quotidian gay lives, while acknowledging the high-style postmodernism of oppositional 1990s New Queer Cinema.
This article concerns itself with feminist comedy that is deemed angry and difficult in an era of postfeminism. Hannah Gadsby’s live show Nanette, released as a Netflix film, can be described as difficult because it is politically challenging, emotionally demanding and disrupts the established format of stand-up comedy. Yet it has had critical and commercial success. Nanette challenges the underpinning assumption of postfeminism: that feminism is no longer needed. It is feminist and angry. To explore the phenomenon of angry feminist comedy in the postfeminist era, the article considers the comedy of Gadsby through the figure of the feminist killjoy, coined by Sara Ahmed, to reflect how the killjoy and the queer art of failing offer forms of political ‘sabotage’ that subvert comedy as masculinist popular culture.
. 6 The Washington Group on Disability Statistics (New York, 4–6 June 2001) has developed both short and extended sets of standard functioning questions. 7 This phrase was coined by Patel et al. (2018) . 8 Differential exposure results from increased low-paid frontline work (e.g. in
have. This is not a problem until a situation arises which presents an existential threat and a paradigm shift is required purely for survival, which was of course the rationale that the original ALNAP study gave for innovation. This rationale draws on the idea of creative destruction, the phrase coined by Joseph Schumpeter to describe how the ‘fundamental impulse that sets and keeps the capitalist engine in motion comes from the new consumers’ goods, the new methods of production or transportation
bodies. The term ‘celebrity humanitarianism’ was coined to recognise the expanding ambit for celebritised forms of global humanitarian and charity work, though the phenomenon has accompanied humanitarianism from its early days ( Richey, 2016a ). The historical roots of Affleck’s twenty-first-century celebrity humanitarianism to ‘save’ the Congo can be traced back to Victorian-era work on behalf of overseas causes by E. D. Morel 3 and his countrymen ( Brockington, 2014
museums therefore resembled what Angela Jannelli has called ‘wild museums’ ( Jannelli, 2012 ; Thiemeyer, 2018 : 95): They were stuffed with a dizzying wealth of objects, ranging from coins to medical equipment, often presented along pragmatic lines and without regard for newer museum concepts or a contextualizing storyline. Some museums also presented typical sceneries of Red Cross work, for example by showing the life-size doll of a Red Cross nurse in
commitment to producing more ‘positive’ images played out in ad campaigns by the British NGO Christian Aid in the 1990s. Although positive images are preferable to negative ones, Lidchi argues that they are also two sides of the same coin, one that leaves unchallenged the basic question of whether ‘a realist, or documentary mode, of representation’ (292) is most apt since it ‘prevents new modes of representation from emerging’ (284). Focusing on the ethical
Data-informed advocacy is a familiar occurrence in humanitarian circles. Powers showed how activism and information provision were conceptualised as two sides of the same coin. Activism was considered a guiding value in their information production function, while information was perceived ‘as a key component of successful advocacy’ ( Powers, 2016 : 411). In Redfield’s study of MSF, he describes this practice as ‘an overtly motivated form of scientific research, finding
an assemblage. 3 I borrow this concept from the philosophers Deleuze and Guattari as they coined it in A Thousand Plateaus ( 2004 ). They introduce the concept of agencement that is generally translated as assemblage in English to capture the intricate interplay of agency and structure, contingency and structuration, change and organisation. 4 Important is the fact that ‘assemblages select elements from the milieus (the surroundings, the context, the mediums) in which the assemblages work’ ( Macgregor Wise, 2005 : 78). Therefore, it is needed to