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Mel Bunce

one problem: the video wasn’t real. It was the creation of 34-year-old director Lars Klevberg, and it was filmed in Malta with child actors, using a set from the movie Gladiator . Klevberg said he wanted the video to start a conversation about the impact of war on children. Critics said he had gone too far: that the video created confusion and cynicism, which undermined attempts to address conflict in Syria ( Salyer, 2014 ). ‘Syrian hero boy’ was not an isolated incident. When audiences look online for information about humanitarian crises, they

Journal of Humanitarian Affairs
Open Access (free)
Environmental justice and citizen science in a post-truth age
Editors: Thom Davies and Alice Mah

This book examines the relationship between environmental justice and citizen science, focusing on enduring issues and new challenges in a post-truth age. Debates over science, facts, and values have always been pivotal within environmental justice struggles. For decades, environmental justice activists have campaigned against the misuses of science, while at the same time engaging in community-led citizen science. However, post-truth politics has threatened science itself. This book makes the case for the importance of science, knowledge, and data that are produced by and for ordinary people living with environmental risks and hazards. The international, interdisciplinary contributions range from grassroots environmental justice struggles in American hog country and contaminated indigenous communities, to local environmental controversies in Spain and China, to questions about “knowledge justice,” citizenship, participation, and data in citizen science surrounding toxicity. The book features inspiring studies of community-based participatory environmental health and justice research; different ways of sensing, witnessing, and interpreting environmental injustice; political strategies for seeking environmental justice; and ways of expanding the concepts and forms of engagement of citizen science around the world. While the book will be of critical interest to specialists in social and environmental sciences, it will also be accessible to graduate and postgraduate audiences. More broadly, the book will appeal to members of the public interested in social justice issues, as well as community members who are thinking about participating in citizen science and activism. Toxic Truths includes distinguished contributing authors in the field of environmental justice, alongside cutting-edge research from emerging scholars and community activists.

Letter to M. Cavell about cinema (a remake)
Joshua Foa Dienstag

claim is at issue here. For what the film adds to the play at this point is exactly a kind of discursus about the legitimacy of such a viewing, and especially the legitimacy of it in photographic form. In the play, there is only a brief mention of photography when magazine photographer Liz Imbrie (Ruth Hussey) says in an early scene that she is “quite a pest” with her camera and

in Cinema, democracy and perfectionism
The “Clean City” law in São Paulo, Brazil
Marina Da Silva

as they remove what they personally consider visual pollution to be. This controversy over “Clean City” was documented in the film Cidade Cinza (Grey City, 2013) by Marcelo Mesquita and Guilherme Valiengo. The documentary follows the discussion about the usage of São Paulo’s public space and the role of graffiti as art and as social expression, culminating in the removal of a 75-­foot-­long (23 meters) mural created by a street art collective without warning under the enforcement of Clean City; this decision was taken by the cleaning company, not by city hall. This

in Toxic truths
Elana Wilson Rowe

red and blue that could bring Chinese goods to European and North American markets in the rapidly warming Arctic. These broader representations of the Arctic are well analysed in the literature, with key sources of empirics coming from photography, film, mapping, and broad policy narratives and media representations (Powell and Dodds, 2014; Steinberg et al, 2015). While the broad strokes of how the region can be framed and is represented have been well examined, we still need to know more about how these frames are brought to bear on the political practice of

in Arctic governance