Abstract only
Socially engaged art and theory

The avant garde is dead, or so the story goes for many leftists and capitalists alike. But so is postmodernism an outmoded paradigm in these times of neoliberal austerity, neocolonial militarism and ecological crisis. Rejecting ‘end of ideology’ post-politics, Vanguardia delves into the changing praxis of socially engaged art and theory in the age of the Capitalocene. Reflecting on the major events of the last decade, from anti-globalisation protest, Occupy Wall Street, the Maple Spring, Strike Debt and the Anthropocene, to the Black Lives Matter and MeToo campaigns, Vanguardia puts forward a radical leftist commitment to the revolutionary consciousness of avant-garde art and politics.

Mattias Frey and Sara Janssen

This introduction to the Film Studies special issue on Sex and the Cinema considers the special place of sex as an object of inquiry in film studies. Providing an overview of three major topic approaches and methodologies – (1) representation, spectatorship and identity politics; (2) the increasing scrutiny of pornography; and (3) new cinema history/media industries studies – this piece argues that the parameters of and changes to the research of sex, broadly defined, in film studies reflect the development of the field and discipline since the 1970s, including the increased focus on putatively ‘low’ cultural forms, on areas of film culture beyond representation and on methods beyond textual/formal analysis.

Film Studies
The Aid Industry and the ‘Me Too’ Movement
Charlotte Lydia Riley

created a twitter hashtag, #MeToo, to encourage women to respond to the accusations against Harvey Weinstein by sharing their own experiences of assault and abuse ( Khomami, 2017 ). Since the Weinstein accusations – and through his trial and subsequent conviction – journalists, academics, politicians and activists have spoken of a MeToo moment, as women across many different sectors vocalise their experiences of sexual assault, abuse and harassment at the hands of

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

international colleagues. This, we argue, is all the more striking in light of the 2018 Oxfam scandal and resurgence of interest in preventing sexual exploitation and abuse (see GADN, 2019 ), as well as the rise of #AidToo and #AidSoWhite which saw aid workers share experiences of sexual violence and racism on social media as part of wider #MeToo and #BlackLivesMatter phenomena since 2013. 3 While the term ‘the field’ – and its more extreme sibling ‘the deep field

Journal of Humanitarian Affairs
Open Access (free)
Humanitarianism in a Post-Liberal World Order
Stephen Hopgood

supposed to be saving, as we have seen with recent #MeToo scandals ( BBC, 2018a ). Also, their commitment to aid might be superficial and based around a narrow idea of life as basic subsistence, for example, rather than of the quality of the lives of those they have saved. But few modern humanitarians are likely to make a moral claim that they will save only the lives of those who look or think like them, a common occurrence in the nineteenth century. All beneficiaries have prima facie equal value. But humanitarians’ reliance on liberal world

Journal of Humanitarian Affairs
Alison Phipps

. Brett Kavanaugh was eventually confirmed as an Associate Justice of the Supreme Court, after a perfunctory delay. But Christine Blasey Ford’s actions inspired an international wave of support. The hashtag #WhyIDidntReport trended on social media. Tarana Burke and other leaders of #MeToo published an open letter of solidarity, and another one was signed by more than 200 alumnae of Ford’s high school. Ford was nominated for the John F. Kennedy 13 PHIPPS 9781526147172 PRINT.indd 13 14/01/2020 13:18 Me, not you Profile in Courage Award, named ‘person of the year’ by

in Me, not you
Alison Phipps

9781526147172 PRINT.indd 109 14/01/2020 13:18 Me, not you be led by angry women’.2 This was partly based on a nationally representative survey conducted in 2016 by PerryUndem, which found that anger over Trump’s sexism had done more than anything else to spur people to political action. To understand the Women’s March, Goldberg explained, one had to understand ‘just how devastated, shocked, and even traumatized many women [were] by the election of the grab-’em-by-the-pussy president’. The march, followed by the viral spread of #MeToo later that year, led to 2017 being

in Me, not you
Marc James Léger

Das Kapital Oratorio to the political limits of the Black Lives Matter and MeToo movements as forms of ‘victim politics.’ In contrast to Simon Critchley’s notion of an ‘ethics of commitment’ and Nizan Shaked’s particularist and identity-based approach to conceptual art’s ‘synthetic proposition,’ I draw on Marxist theory in order to better appreciate the limits of postmodern pluralism as a means to confront the problems of global capitalism. Prole art threat Judith Butler’s notion of the performative

in Vanguardia
Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

 1 1 VULNERABILITY AS A POLITICAL LANGUAGE A nu Koi v une n, K atar iina K yröl ä a nd I ngr id  Ry berg I n present-​ day public discussions, questions of power, agency, and the media are debated more intensely than ever as issues of injury or empowerment. Vulnerability has emerged as a key concept circulating in these discussions and their academic analyses. The #MeToo campaign, as well as its extensions like #TimesUp and versions in various languages across the globe, has been taken up as a key example of these tendencies, showing how the public

in The power of vulnerability
Abstract only
Alison Phipps

#MeToo listened to and learned from the Black women, both trans and cis, at the forefront of prison abolition? Or if activists against sexual harassment in universities and other institutions joined forces with sex workers’ unions and organisations supporting migrant labourers? What would a c­ ampaign  against trafficking look like, if it was also a campaign against borders? What would a campaign against sexual exploitation look like, if it was also a campaign against the exploitation of nature? How might we put the fight against sexual violence alongside battles for

in Me, not you