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From the globalisation of the movement (1968) to the movement against globalisation (2001)
Author: Antigoni Memou

Throughout its brief history, photography has had a close relationship to social movements. From the Commune of Paris in 1871, the first political uprising to be captured by camera, to the 1990s anti-globalisation movement, the photographic medium has played a crucial role in political struggles. The book reflects critically on the theory of photography and the social movements themselves. It draws on a range of humanities disciplines, including photography theory and history, social movement theory, political theory, cultural history, visual culture, media studies and the history and theory of art. The book takes as a starting point 1968 - a year that witnessed an explosion of social movements worldwide and has been interpreted as a turning point for political practice and theory. The finishing point is 2001 - a signpost for international politics due to September 11 and a significant year for the movement because of the large-scale anti-capitalist protests in Genoa. Within these chronological limits, the book focuses on a selection of distinctive instances in which the photographic medium intersects with the political struggle. The three case studies are not the only pertinent examples, by any means, but they are important ones, not only historically and politically, but also iconographically. They are the student and worker uprising in France in May 1968 and two moments of the contemporary anti-capitalist movement, the indigenous Zapatista movement in Mexico and the anti-capitalist protests in Genoa in 2001.

David Rieff

. If humanitarian certainties have been upended, it is not in Sri Lanka, or even Syria or Afghanistan, but in the NGO response to the migration crisis in Greece and in the Mediterranean. For here, whether they like it or not, when they rescue people at sea who are trying to get to Europe, relief NGOs are involved not just in caritative work, whose deontology is relatively straightforward ethically; here, they are important actors in a profound political struggle, whose outcome, along with the response or non-response to climate change, is likely to

Journal of Humanitarian Affairs
Marc James Léger

space of encounter between praxis, critique and truth – a place that sustains an open and reflective encounter between art and the totalising critique of capitalism.’ 28 In the words of the organisers, who are equally concerned with collective objectification and intellectual labour, ‘artist organizations bring forward a social/political agenda that connects the fields of ethics and aesthetics. Rather than a medium merely “questioning” and “confronting” the world, the artist organisation situates itself in the field of daily political struggle.’ 29 Neither a

in Vanguardia
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Christian Lo

their interconnectedness, these two concepts enable analysis of a central tension in the examples of political struggle and the policy processes investigated: that is, the tension between adherence to the hierarchical command chain of the municipal organization and alternative alliances found both within and beyond the formal municipal organization. Tales of municipal entrepreneurship, understood as political strategies at play among local politicians and municipal administrators in their efforts to develop and implement new policy initiatives, are

in When politics meets bureaucracy
Christian Lo

political struggle during policy processes. Second, while demonstrating how both political and administrative actors can become the prime movers of policy processes, they also show how successful “municipal entrepreneurship” depends on a dialectic relationship between the two roles. Third, and most importantly concerning the ambition of exploring the relationship between government and governance (see the discussion in Chapter 2 ), the two cases both display how internal and external relations (and resources) are tightly interwoven during policy processes, and how

in When politics meets bureaucracy
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Antigoni Memou

Introduction T h r o u g h o u t its brief history, photography has had a close relationship to social movements. From the Commune of Paris in 1871, the first political uprising to be captured by camera, to the 1990s anti-globalisation movement, the photographic medium has played a crucial role in political struggles.1 The camera’s presence at very important moments of political resistance resulted in some of the best-known photographs in the history of twentieth-century photography. Some of these photographs transcended the historical and geographical

in Photography and social movements
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Thomas Linehan

leisure with a communist one. Finally, in communist hands, leisure was regarded as an aspect of the wider communist political struggle. Communist political values would be affirmed through leisure, while the Party and YCL would pursue wider political goals through leisure activities. In a similar register, recruits to the various organs of the Party absorbed communist values and models of behaviour through their participation in communist leisure. Communist recruits enjoyed Party and YCL-run recreational activities almost Linehan 08 13/6/07 11:34 Page 147

in Communism in Britain 1920–39
Tales of municipal entrepreneurship
Christian Lo

In this chapter, I will describe this volume's understanding of how municipal policy development unfolds by exploring the strategies and tactics at play during controversial policy developments. In doing so, the analytical focus shifts from Bailey's concept of normative rules to the more pragmatic rules of political struggle. However, as previously indicated, this chapter also entails an important departure from Bailey's classical description of political struggle ( 1969 ), as I argue for a contrast between Bailey's descriptions of leader

in When politics meets bureaucracy
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Orla O’Donovan and Fiona Dukelow

Thompson, may have been encountered by many Irish people when learning history, but few appear to be familiar with their intellectual legacies and how their ideas have influenced and been used (and abused) in various political struggles. ‘Fighting words’, such as patriarchy, alienation and institutionalised racism, may be familiar, but possibly encountered in distorted or diluted forms, and emptied of their original subversive purpose. The volume thus seeks to counter the speedy and superficial fast-food style of reading, which is increasingly a feature of academic

in Mobilising classics
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David Murphy and Patrick Williams

Manthia Diawara; in relation to political struggle, via Cabral; and in relation to both, via the films of Flora Gomes. In Diawara’s book African Cinema: Politics and Culture , the Return to the Source is one of the three (variously problematic) categories taken to constitute contemporary African filmmaking, the others being Social Realism and Colonial Confrontation. Films in this category are concerned above all with

in Postcolonial African cinema