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Clare Wilkinson and Emma Weitkamp

. Audiences, participants and public/s When many people first think about communicating their research they can sometimes be motivated by the desire to reach ‘the general public’. In fact, in research communication settings, as in many others, it has become uncommon to refer to a singular public; rather, it is recognised that participants in research communication come from a variety of backgrounds, communities, experiences and perspectives, and the idea of one exclusive and singular public is therefore problematic. In the past many researchers and communicators

in Creative research communication
The Aid Industry and the ‘Me Too’ Movement
Charlotte Lydia Riley

(characterised by many participants as #AidToo), with a focus on British organisations. I argue that the aid industry exists in a historical, social and political space that is particularly volatile when it comes to sexual abuse, harassment and assault. The power hierarchies of the industry make it difficult to call out this abuse and easy to cover it up – powerful men are protected by their image as humanitarian saviours and enabled by organisations that rely on public goodwill for

Journal of Humanitarian Affairs
Bert Ingelaere

is that such a case illustrates a Rwandan way of communicating that only makes sense when one takes into account the dialectic of speech/silence as discussed in the previous section. Indeed, one could say that ‘the truth was out there’ that day, in some expressive form, situated in the midst of the participants in that particular gacaca session. The trial participants on that hill that day deterritorialised the gacaca assemblage in their way. In doing so, they deterritorialised the assemblage when looked at from the perspective of its design. They

Journal of Humanitarian Affairs
Abstract only
Queer Feminist Film Curation and the Freedom to Revolt
So Mayer and Selina Robertson

During summer 2018, Club Des Femmes (CDF), in collaboration with the Independent Cinema Office funded by the British Film Institute (BFI), curated a UK-wide touring season of films considering the aftermath of May 1968. ‘Revolt, She Said: Women and Film after ’68’ comprised nine feature films and eight accompanying shorts, exploring the legacy of 1968 on contemporary feminisms, art and activism transnationally. In this article, two members of CDF unpack the queer feminist ethics and affects of the tour, through the voices of multiple participants, and framed conceptually by Sara Ahmed’s ‘willful feminist’ and Donna Haraway’s ‘staying with the trouble’.

Film Studies
Claire Nally

Whilst the focus of much criticism has addressed goth as a subculture, considerably less attention has been given to the gendered status of marketing and advertising in subcultural magazines, whilst ‘glossy’ goth magazines have enjoyed little concerted analysis at all. Subcultures are frequently represented by participants and critics as ‘idyllic’ spaces in which the free play of gender functions as distinct from the ‘mainstream’ culture. However, as Brill (2008), Hodkinson (2002) and Spooner (2004) have identified, this is unfortunately an idealistic critical position. Whilst goth men may embrace an ‘androgynous’ appearance, goth women frequently espouse a look which has much in common with traditional feminine values. Slippages between subcultural marketing and mainstream advertising are frequent and often neotraditional in their message regarding masculinity and femininity. In using critiques of postfeminism alongside subcultural theory, I seek to reevaluate how gender functions in these publications. By close inspection of scene representations of ‘goth’ in the twenty-first-century through magazines such as Gothic Beauty (US), Unscene and Devolution (UK), as well as interviews with participants, I argue women’s goth fashion, sexuality and body image often (but not exclusively) represent a hyperfemininity which draws from conventional ideas of womanhood.

Gothic Studies
A Model for Historical Reflection in the Humanitarian Sector
Kevin O’Sullivan and Réiseal Ní Chéilleachair

-first century, particularly the normalisation of crisis and displacement and the recurrent themes of food security, famine and drought. Each session was introduced by brief reflections from two practitioners and an academic, followed by a guided open discussion, bringing in participants from the floor and lasting approximately an hour and a half in each case. Brief outlines of the session themes, including questions for reflection, were circulated

Journal of Humanitarian Affairs
Swedish Sex Education in 1970s London
Adrian Smith

In 1974 the British Board of Film Censors refused to grant a certificate to the Swedish documentary More About the Language of Love (Mera ur Kärlekens språk, 1970, Torgny Wickman, Sweden: Swedish Film Production), due to its explicit sexual content. Nevertheless, the Greater London Council granted the film an ‘X’ certificate so that it could be shown legally in cinemas throughout the capital. This article details the trial against the cinema manager and owners, after the film was seized by police under the charge of obscenity, and explores the impact on British arguments around film censorship, revealing a range of attitudes towards sex and pornography. Drawing on archival records of the trial, the widespread press coverage as well as participants’ subsequent reflections, the article builds upon Elisabet Björklund’s work on Swedish sex education films and Eric Schaefer’s scholarship on Sweden’s ‘sexy nation’ reputation to argue that the Swedish films’ transnational distribution complicated tensions between educational and exploitative intentions in a particularly British culture war over censorship.

Film Studies
Rethinking Digital Divides by Linda Leung
Antonio Díaz Andrade

that all individuals from refugee backgrounds were poor and/or illiterate in their countries of origin. More importantly, she demonstrates that, through their engagement in digital technology, they are not passive subjects; they continuously exercise their agency. Leung meticulously documents the her participants’ journeys from their countries of origin to their detention or resettlement in Australia. Throughout the book, she provides a vivid personal account of her interaction with them. She

Journal of Humanitarian Affairs
Sophie Roborgh

participants were sometimes accompanied by a brief summary of their difficult experiences. Some potential participants appeared to be selected predominantly on the basis of their extraordinary experience and ability to cultivate affect. One media officer, who helpfully forwarded me to several participants, suggested one of them to me by mentioning the specific personal losses the interviewee had suffered while working in a field hospital, and well

Journal of Humanitarian Affairs
Open Access (free)
Róisín Read

.1080/13552074.2019.1664046 . Martin de Almagro , M. ( 2017 ), ‘ Producing Participants: Gender, Race, Class, and Women, Peace and Security ’, Global Society , 1 – 20 , published online 11 October, doi: 10.1080/13600826.2017.1380610 . Martínez , S. and Libal , K. ( 2011 ), ‘ Introduction: The Gender of

Journal of Humanitarian Affairs