’ becomes radically unheimlich : neo-gothic
defamiliarising often means enforcing the familiar, the domestic,
everyday experience, to an excess. By contrast, Frankenstein
has early used the contextual experience of encountering strangers
or ‘Others’, as well as the narrative conventions of
placing central figures in an elaborate familial web, and
Democracy is seen to exert a globalizing force upon the international community; yet its most enthusiastic proponents argue that it must be a localized, grassroots phenomenon to be of any value. Modern democracy appeared originally within the context of a sovereign state system and required state autonomy in order to preserve democratic institutions. The increasing unwillingness to challenge normative claims made in the political arena, especially within disparate cultural contexts, was a disservice perpetuated by the discipline. The long-standing debate in international relations theory between 'realists' and 'idealists' filtered into the democratic transformation debate. The complexity of the debate was compounded insofar, as the objective commonly accepted by most participants in the debate was itself a manifestly normative construct. The current fascination of international relations theorists in the spread of democratic regimes seems to be more intensely fixed upon the relationship between democracy and peace than upon democracy and wealth.
differences, suggesting that digital humanitarian goods represent a new form of
‘gifting’ from beneficiaries to humanitarian actors and their
The article therefore offers a set of contextual framings: in Section 2, the
expanding capabilities of tracking devices and their proliferation across societal
domains are linked with the emergence of ‘digital beneficiary bodies’.
In Section 3, to illustrate the importance of seeing wearables in the context of the
Creating an Inclusive Film Industry through Reclaiming The Frame
In this interview with Mia Bays (Birds’ Eye View), we discuss the recent Reclaim The Frame project, a UK-wide touring programme that showcases female-directed or -scripted films, usually new or recent releases. The interview explores the idea that this kind of curation is a necessary feminist intervention in the contemporary British cinema circuit, one that offers audiences agency and acknowledges that initiatives in film production alone are not sufficient to shift structural inequalities in the film industry. The piece begins with some contextual detail before turning to my discussion with Bays.
This article offers an alternative to the predominant and pervasive theoretical
approaches to discussing time in film. It adheres to ordinary language, and moves
away from a ‘mapping’ of theoretical models or contextual analysis to concentrate on
a films specifics. It considers the particular handling of time in a particular film:
The Age of Innocence (Martin Scorsese, 1993). Fixing on specific points of style, the
article examines the interplay of time and gesture, and the editing techniques of
ellipses and dissolves. Both the article and the film hold their attention on the
intricacy and intimacy afforded by moments, as they pass. Both explore how the
intensity of a lovers relationship over decades is expressed in fleeting passages of
shared time. In doing so, the article advances a vocabulary of criticism to match the
rhetoric of the film, to appreciate the works handling of time. Detailed
consideration of this achievement allows for a greater understanding of the designs
and possibilities of time in cinema.
Dismissed by most critics, including even those sympathetic to alternative cinema,
Harmony Korine‘s Gummo (1997) presents a tabloid look at the dark underside of
adolescence. It aims to provoke its audience by pushing the boundaries of acceptable
good taste. In Gummo, Korine employs a more experimental collage technique in which
scenes are linked, not by the cause and effect of conventional plot, but by the
elusive logic of free association. This essay contextualizes Korines work within
skateboard culture and the recent Modern Gothic trend toward creepy, angst ridden,
and death-obsessed work by younger contemporary American artists. It argues that
Gummo‘s real achievement rests on its unusual narrative syntax – the way Korine is
able to weave together the films disparate scenes and events to create a viscerally
assaulting, Modern Gothic portrait of the notion of “difference” in its various
I will read John Winthrop‘s Model of Christian Charity against and through Edgar Allan Poe‘s poem ‘The City in the Sea’. Winthrop and Poe both localize a ‘city’ to represent an extreme form of society. The koine Greek of Matthew 5 uses the word polis to describe a ‘city on a hill’. Christ says this city must not be hidden, but rather should shine so that the world may see it. The New Testament‘s merging of ‘politics’ and ‘city’ in the word polis makes it unsurprising that many Anglophone writers invoke ‘city’ in a title or phrase when making political innuendoes. Winthrop was a devotee of scripture, and Poe knew Greek, so their allusions to a representative human city are fraught with cultural meaning. To contextualize and compare their particular evocations of the city metaphor, I incorporate the theories of Edward Said and present cross-references to Eugène Delacroix, the prophecies of Ezekiel, and Shelley‘s poem ‘Ozymandias’. The Holy Land is at once fixed in the exotic Middle East yet necessary for America‘s quotidian social mores. Winthrop and Poe romanticize, appropriate, and exploit Middle Eastern symbolism. The interesting twist, however, is that Poe Orientalizes Winthrop‘s city on a hill, and in so doing, he Orientalizes Winthrop, and perhaps America‘s own religious fanaticism.
assemblage was guided by a specific contextual element: the legal and institutional framework that came into being following the genocide.
The Effectual Truth
But the legal and institutional framework was not the only contextual element at work in the gacaca assemblage. A specific code of conduct – expressive form – defined and still defines the nature of social navigation in society. Speech acts did not only correspond to reality in the traditional organisation of Rwandan society. The word was a means to an end, not so much an end in itself. From a Judeo
approaches to understanding people’s lives
are not seen as necessary’. Beerli
(2017a) argues that this shift from proximity to distance is part of a
wider trend within the humanitarian sector.
Such a process cannot be considered just a quantitative one, but also one that goes
hand in hand with the adoption of technology. As Jacobsen and Fast (2019 : S162) explain, the proliferation of mobile
devices to collect data has shifted the emphasis from richer contextual data to