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Indigeneity, bioprecarity and the construction of the embodied self – an artist’s view
Katarina Pirak Sikku and Gabriele Griffin

the recent film, Sameblod (Sámi blood) ( 2016 ). This coming-of-age film set in 1930s Sweden (Ehrlich, 2017 ) centres on a young Sámi girl who ‘[e]‌xposed to the racism of the 1930s and race biology examinations at her boarding school … starts dreaming of another life. To achieve this other life, she has to become someone else and break all ties with her family and culture’ (IMDb, n.d. ). But this break with her Sámi family history does not happen before the film has detailed the many humiliations to which the central character and her younger sister are exposed

in Bodily interventions and intimate labour
Open Access (free)
Élisabeth Anstett and Jean-Marc Dreyfus

popular culture, where the display of corpses in police dramas, horror films and television series centres –​almost obsessively –​on the figure of the forensic pathologist and the cutting-​up of dead bodies.24 The second set of questions is more strictly ethical in nature. Works of fiction, along with photography and film, engage just as directly as religious or scientific practices with the fundamental questions raised by the bringing to light and public display of corpses and human remains with regard to the respect they are owed. These documentaries and works of

in Human remains in society
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Eamon Maher and Eugene O’Brien

-​American perspective on dealing with these issues. Also, increasing mobility between countries through the Erasmus exchange of students and academics, allied to media representations, demonstrated that the Catholicism of France, Spain and Italy was very different to that of Ireland, where Church and State were closely allied. The availability of films, books, discussions and newspapers that took more secular positions on issues that had been seen as firmly within the Catholic Church’s purview gradually eroded the hegemonic certainties and offered alternatives. The hierarchy

in Tracing the cultural legacy of Irish Catholicism
Creative resistance in Preet Nagar
Churnjeet Mahn, Anne Murphy, Raghavendra Rao KV, Poonam Singh, Ratika Singh, and Samia Singh

: 6.1 Still from Auzaar . Auzaar is a film that questions the idea of division and the tools used to implement it, through a collage of video performances. The legacy of religious politics left behind by the Partition in 1947 continues to be re-invoked in modern day Indian politics. In recent times, questions of national identity and performances of

in Creativity and resistance in a hostile world
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Kasparov and the machines
John Sharples

automaton-like qualities. What is most intriguing about Jayanti’s film is its use of the apparatus of the Gothic to recontextualise Deep Blue’s appearance not as a symbol of progress or the future, but as a throwback to more familiar forms of anxiety. In particular, the liminal states created by corridors, surveillance cameras, locked rooms, black boxes, and windows, in their capacity to entangle states of access/no access and seeing/being seen, are used in Game Over to decentre Kasparov’s place within the match, a clear visual expression of the psychological states he

in A cultural history of chess-players
Racial capitalism and workplace resistance
Ben Rogaly

another Polish Peterborough resident’s Facebook page about the biographical oral history work I was doing racial capitalism and workplace resistance 73 in the city. It was now July 2017, one year on from the EU referendum, and I was conducting a series of audio interviews as part of the research for a film, Workers, that I was co-producing about warehouse and food factory work.1 Laura had been involved in discussions about the film project from its conception in 2014 and had attended a meeting in London the following year with the larger team that was putting

in Stories from a migrant city
A tale of two professors
Randee Lipson Lawrence and Patricia Cranton

a dialogue so as to invite others into the conversation. We describe how research can incorporate music, fiction, poetry, painting, photography, theatre and more and provide specific examples from our practice and experience with arts-based research. We also review some of the challenges and obstacles encountered in promoting creative research in our universities. 81 Clover_Sandford.indd 81 05/04/2013 09:03 arts-based research and enquiry Arts-based research is any research that makes use of the arts in the collection, analysis and/or dissemination of data

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Tom Woodin

the latter reviewed sympathetically by Berger. Greg Wilkinson also corresponded with Berger while producing Lifetimes. In addition, the north-eastern group Strong Words worked with photographers Richard Sources of radicalism 21 2  QueenSpark publicity inviting people to share their photographs and memories. Grassick and Sirkka-Liisa Konttinen as well as ‘Amber’, a film and photography group representing working-class communities.49 A more general radical impetus within labour history contributed to the Fed. During the 1970s, the History Workshop movement

in Working-class writing and publishing in the late twentieth century
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Non-elite cosmopolitanism in the Brexit era
Ben Rogaly

on such listening, including biographical oral history interviews with the rapper Donna Stevens, with whom this chapter started, and with seventy-five other individual Peterborough residents. This research began in earnest in March 2011, at a time when the austerity policies that had followed the 2008 bailout of the banks had begun to bite, and it continued until 2018, including the aftermath of the 2016 UK-wide Brexit referendum. It set out to use oral history, ethnography, film, photography and theatre to explore the multiple and diverse place attachments and

in Stories from a migrant city
Dimitrios Theodossopoulos

community’s leader and explained who we were, Tzortzis had already made numerous friends, whom he immortalised with his heavy, roll-film camera. I found his excessive photographing embarrassing, but everyone else appeared to be charmed by his friendly and immediate personal style. In fact, his ability to establish a sense of rapport with the Emberá put to shame my slow and step-by-step approach. ‘Anthropologists salvage the authenticity of Others with their writing’, he said, ‘I do so with my camera.’ That anthropology was no longer a mere salvaging project was my main

in Exoticisation undressed