European horror films have often been characterised by a tendency towards
co-production arrangements. Recent developments within regional European funding
bodies and initiatives have led to a proliferation of films that combine traditional
co-production agreements with the use of both regional and intra-regional funding
sources. This article examines the extent to which the financial structuring of
Creep(Christopher Smith, 2004), Salvage (Lawrence Gough), and Trollhunter (André
Øvredal, 2010) informed the trajectory of their production dynamics, impacting upon
their final form. Sometimes, such European horror films are part of complex
co-production deals with multiple partners or are derived from one-off funding
project. But they can also utilise funding schemes that are distinctly local.
The Politics of ‘Proximity’ and Performing Humanitarianism in Eastern DRC
One morning in Goma, I attended a meeting of the Cercle de la Sécurité : a group of Congolese humanitarians who work in security management for different international NGOs (non-governmental organisations) in the province. Although they hold a variety of different job titles, the members perform a common function within their respective organisations: they analyse local security conditions by collecting information about protracted violence and acts of criminality. They form and maintain a network among different local authorities and armed
This article considers how the reburial and commemoration of the human remains of the
Republican defeated during the Spanish Civil War (1936–39) is affected by the social,
scientific and political context in which the exhumations occur. Focusing on a particular
case in the southwestern region of Extremadura, it considers how civil society groups
administer reburial acts when a positive identification through DNA typing cannot be
attained. In so doing, the article examines how disparate desires and memories come
together in collective reburial of partially individuated human remains.
the Holocaust. In March 1995, a research team organised by Alison Des Forges of HRW and Eric Gillet of FIDH established an office in Rwanda and began to gather evidence, focusing both on the organisation of the genocide at the national level and on its execution at the local level, with an exploration of three local case studies. The research project that ultimately involved a dozen researchers culminated in the publication in 1999 of the 789-page report, Leave None to Tell the Story: Genocide in Rwanda , written primarily by Des Forges (1999) .
Leave None to
Established during the Guatemalan Peace Process, the Oslo Accord contemplates the
question of compensating the victims of internal armed conflict. Not only was this accord
founded on the principles of victims rights, but it also intends to contribute to the
democratic reconstruction of Guatemalan society through a process of recognition of
victims status and memory – intended to have a reconciling function. The article focuses
on the work of two organisations implementing the Oslo Accord and aims to analyse the
discourses and practices of the local actors and their perception of the application of
victims rights. Civil society actors and members of the National Compensation Programme
demonstrate different approaches both in practical work and in representations of what is
right. However, revendication of local cultural values is present in all actors discourse,
revealing their ambiguous position in regard to state government.
This paper traces the massacres of Jews and Soviet prisoners of war in November 1941
in the city of Bobruisk, Eastern Belarus. Sparked by a current memorial at one of the
killing sites, the author examines the historic events of the killings themselves and
presents a micro level analysis of the various techniques for murdering and disposing
of such large numbers of victims. A contrast will be shown between the types of
actions applied to the victims by the German army, SS, police personnel and other
local collaborators, reflecting an imposed racial hierarchisation even after their
Since the early 1990s, armed actors have invaded territories in the Chocó and Antioquia
departments of Colombia, inhabited by Afro-Colombians and Indians whose collective rights
in these territories had recently been legally recognised. Based on long-term fieldwork
among the Emberá Katío, this article examines social, cosmological and ritual alterations
and re-organisation around violent death. Following a national policy of post-conflict
reparations, public exhumations and identifications of human remains reveal new local
modes of understanding and administration. In particular, suicide, hitherto completely
unknown to the Emberá, broke out in a multitude of cases, mostly among the youth. Local
discourse attributes this phenomenon to the number of stray corpses resulting from the
violence, who are transformed into murderous spirits which shamans can no longer control.
The analysis focusses on the unprecedented articulation of a renewed eschatology, the
intricate effects of an internal political reorganisation and the simultaneous inroad into
their space of new forms of armed insurrectional violence. Thus the article will shed
light on the emergence of a new transitional moral economy of death among the Emberá.
Between 1975 and 1979, thirty-one unidentified bodies bearing marks of torture appeared
at various locations along Uruguays coastline. These bodies were material proof of the
death flights implemented in neighbouring Argentina after the military coup. In Uruguay,
in a general context of political crisis, the appearance of these anonymous cadavers first
generated local terror and was then rapidly transformed into a traumatic event at the
national level. This article focuses on the various reports established by Uruguayan
police and mortuary services. It aims to show how,the administrative and funeral
treatments given at that time to the dead bodies, buried anonymously (under the NN label)
in local cemeteries, make visible some of the multiple complicities between the Uruguayan
and Argentinean dictatorships in the broader framework of the Condor Plan. The repressive
strategy implemented in Argentina through torture and forced disappearance was indeed
echoed by the bureaucratic repressive strategy implemented in Uruguay through incomplete
and false reports, aiming to make the NN disappear once again.
Debates on the relevance of repatriation of indigenous human remains are water under the bridge today. Yet, a genuine will for dialogue to work through colonial violence is found lacking in the European public sphere. Looking at local remembrance of the Majimaji War (1905–7) in the south of Tanzania and a German–Tanzanian theatre production, it seems that the spectre of colonial headhunting stands at the heart of claims for repatriation and acknowledgement of this anti-colonial movement. The missing head of Ngoni leader Songea Mbano haunts the future of German–Tanzanian relations in heritage and culture. By staging the act of post-mortem dismemberment and foregrounding the perspective of descendants, the theatre production Maji Maji Flava offers an honest proposal for dealing with stories of sheer colonial violence in transnational memory.
The display of human remains is a controversial issue in many contemporary societies, with many museums globally removing them from display. However, their place in genocide memorials is also contested. Objections towards the display of remains are based strongly in the social sciences and humanities, predicated on assumptions made regarding the relationship between respect, identification and personhood. As remains are displayed scientifically and anonymously, it is often argued that the personhood of the remains is denied, thereby rendering the person ‘within’ the remains invisible. In this article I argue that the link between identification and personhood is, in some contexts, tenuous at best. Further, in the context of Cambodia, I suggest that such analyses ignore the ways that local communities and Cambodians choose to interact with human remains in their memorials. In such contexts, the display of the remains is central to restoring their personhood and dignity.