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Gender Equality and Culture in Humanitarian Action1
Ricardo Fal-Dutra Santos

Emergencies ’, Gender, Place & Culture , 5 : 3 , 241 – 60 . Ihejirika , C. ( 2020 ), ‘ Fuck Your Gender Norms: How Western Colonisation Brought Unwanted Binaries to Igbo Culture ’, gal-dem , 19 February , https://gal-dem.com/colonialism-nigeria-gender-norms-lgbtq-igbo/ (accessed 30 August

Journal of Humanitarian Affairs
Megan Daigle, Sarah Martin, and Henri Myrttinen

challenges that were never covered in training. 18 When it comes to aid workers of diverse SOGIESC, a 2016 survey of nearly 300 expat and local staff at Médecins Sans Frontières found that the majority of reported homophobic harassment was perpetrated by international staff against colleagues and beneficiaries. Forty-nine per cent (49%) felt unsafe to openly identify as LGBTQ+ ( Rainbow Network, 2016 ). One respondent recalled frequently hearing ‘homophobic

Journal of Humanitarian Affairs

As Spain’s narrative of itself has changed through the late 1990s and the twenty-first century due to its engagement with historical memory and an interrogation of the country’s democratic credentials, analyses of Almodóvar’s cinema have changed to accommodate this. This book explores the evolving way in which the cinema of Pedro Almodóvar is employed to read Spain within the country and abroad. It focuses on how Almodóvar’s cinema engages with the narrative of the nation and the country’s twentieth- and twenty-first-century history through a metamodern (rather than postmodern) aesthetic. Whereas Almodóvar’s cinema does not wear politics on its sleeve, this book argues that, through using postmodern techniques with an ethical intent, a foregrounding of cinematic excess, and the poetic function, it nevertheless addresses Spain’s traumatic past and its legacy in relation to gender, class, and the precarious position of the LGBTQ+ community. The political nature of Almodóvar's work has been obscured by his alignment with the allegedly apolitical Spanish cultural movement known as la movida, but his cinema is in fact a form of social critique disguised as frivolity. The book offers a comprehensive film-by-film analysis of the cinema of the Spanish director Pedro Almodóvar, from early transgressive comedies of the 1980s like Pepi, Luci, Bom y otras chicas del montón and Mujeres al borde de un ataque de nervios to award winning dramas like Todo sobre mi madre, Hable con ella, and Dolor y gloria. In doing so, it shows how Almodóvar's films draw on various national cinemas and film genres.

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Leather, sex, archives, and contemporary art
Author: Andy Campbell

Bound Together: Leather, Sex, Archives, and Contemporary Art considers historic gay and lesbian leather communities by way of two interrelated lines of enquiry; addressing the archives where leather histories and their attendant visual and material objects currently reside, while also examining the projects of contemporary artists who bring leather histories to the fore, making an implicit argument for their potential queer political force in the present. Arguing for an expansive, yet grounded, consideration of the vicissitudes and pleasures of archival work, the book centers the material and visual cultures produced by members of gay and lesbian leather communities, tracing their contextual meanings at the time of their making, as well as their continued ability to produce community-specific histories in archival repositories (that may or may not be solely dedicated to leather communities). Contemporary artists such as Dean Sameshima, Die Kränken, Monica Majoli, A. K. Burns and A. L. Steiner, and Patrick Staff have incorporated the themes, materialities, and/or histories of such archival holdings into their heterogeneous practices, establishing leather history as a persistent and generative touchstone for rethinking queer life, relationality, and sexual politics.

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Derek Jarman’s life-writing

Luminous presence: Derek Jarman's life-writing is the first book to analyse the prolific writing of queer icon Derek Jarman. He blended visionary queer politics with experimental self-representation and consistently created art with material drawn from his own life, using it as a generative activist force. Although he is well known for his avant-garde filmmaking, his garden and his AIDS activism, he is also the author of over a dozen books, many of which are autobiographical. Much of Jarmanʹs exploration of post-war queer identity and imaginative response to HIV/AIDS can be found in his books, such as the lyrical AIDS diaries Modern Nature and Smiling in Slow Motion, the associative book of colour Chroma, the critique of homophobia At Your Own Risk, and the activist text published alongside the film Edward II. The remarkable range and depth of his writing has yet to be fully explored by critics. Luminous Presence fills this gap. Spanning his career, Alexandra Parsons shows that Jarman’s self-reflexive response to the HIV/AIDS crisis was critical in changing the cultural terms of queer representation from the 1980s onwards. She reads Jarman's self-representations across his literary and visual works as a queer utopian project that places emphasis not on the finished product, but on the process of its production. Luminous Presence examines Jarmanʹs books in broadly chronological order so as to tell the story of his developing experimentation with self-representation. The book is aimed at students, scholars and general readers interested in queer history, literature, art and film.

Queer kinship, reproductive labour and biopolitics
Ulrika Dahl

(LGBTQ) parenthood. Karin’s post is from one of the many social media discussion groups on non-heterosexual parenthood that I follow in my ethnographic research on contemporary LGBTQ family-making in Sweden. I am particularly interested in how queer forms of family-making evoke gendered and racialized forms of biological and intimate labour and in how reproductive desires articulate with ideas about relatedness and parenting. I approach these questions for what they might teach us, not only about LGBTQ people who through the increasingly common practice of assisted

in Bodily interventions and intimate labour
La ley del deseo
Ana María Sánchez-Arce

the gay and trans characters just as the Aids moral panic was at its height. In placing gay and trans characters at the centre of the film and expecting the Spanish government to fund it, Almodóvar also highlighted how LGBTQ+ issues were still taboo. The decision not to fund the film reflected public opinion: two years after the film’s release, statistics from the Spanish Centre for Sociological Investigations (CIS) showed that ‘50% of Spaniards believe that homosexuality is “a crime”’ and ‘Spaniards continue to show serious misgivings about homosexual behaviours

in The cinema of Pedro Almodóvar
Melodramatic and moral readings of gay conversion therapy in A Place to Call Home
Alley-Young Gordon R.

, unquestioned, the medical profession’s diagnosis of homosexuality as a mental illness, a fact that she argues likely caused enormous damage to readers (i.e., who were being told they were mentally ill). Jennings (2015) notes that from 1956 onward The Ladder had an Australian readership as evidenced by reader letters, and subsequently some Australian readers reported having their copies of this and other LGBTQ+ magazines seized by customs in the

in Diagnosing history
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Paul Jackson

himself later alleged that he had engaged in a four-year relationship with Griffin when he was running for leader in 1999, an accusation Griffin dismissed as a smear. Other prominent gay activists of particular note included co-founder of Blood & Honour , Nicky Crane , who as well as being a leading neo-Nazi activist lived a double life as a gay man who worked as security for LGBTQ clubs. He died of an AIDS

in Pride in prejudice
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Dolor y gloria
Ana María Sánchez-Arce

-Santos, 2019 ; my translation). The film uses these genres to explore trauma in relation to the LGBTQ+ experience and as a way to muse on fiction and memory as productive, whether they become restorative or not. Dolor y gloria tells the story of ageing filmmaker Salvador’s struggle with chronic pain due to a number of physical ailments, anxiety, and depression. Salvador feels unable to work and spends most of the film under the effects of legal pain-relief drugs or heroin, to which he becomes addicted. During these slumbers, and also triggered by other stimuli such as

in The cinema of Pedro Almodóvar