Modernisation and restructuring of mental health day services presents a huge challenge to trusts and commissioners. Ben Taylor outlines the common barriers and suggests some fundamental principles to guide those venturing on this task ‐ not least of which is the involvement of current and potential service users.
The National Day Services Modernisation Network was launched in January 2009 and is a collaboration between the Inclusion Institute (taking on the role previously held by the National Social Inclusion Programme), Mind, Rethink and Richmond Fellowship. The Network came about in recognition that many of those involved in modernising mental health day services were struggling with the same issues, often in isolation, and that there was a need for a forum to discuss and develop approaches to these issues.
The purpose of his paper is to describe the situation facing public libraries in the UK and specifically in London, in particular the role of interlending and the…
The purpose of his paper is to describe the situation facing public libraries in the UK and specifically in London, in particular the role of interlending and the potential for its development.
The author uses his own research work into the work of London libraries.
The paper finds that in a period of deep cuts there nonetheless exist real opportunities for developing services, and concrete suggestions and proposals are made.
This is one of the very few articles to address the issue of interlending in one of the world's largest cities.
Purpose – Although scholars have long been interested in how social movements use mass media to forward their goals, sociological research almost exclusively focuses on…
Purpose – Although scholars have long been interested in how social movements use mass media to forward their goals, sociological research almost exclusively focuses on the ability of activist groups to get their ideas and organizations in general audience, mainstream media coverage. This paper contributes to a more systematic understanding of media coverage outcomes by broadening the range of outlets considered relevant to political discourse. In addition to mainstream venues, we consider conservative and liberal/left outlets in our analysis of social movement organization media coverage.
Method – Using negative binomial regression, we analyze how organizational characteristics, organizational frames, political elites, and event type affect the rates of social movement organization media coverage in mainstream and partisan news venues.
Findings – We find that the independent variables play very different roles in mainstream and partisan media coverage outcomes. Specifically, while organizational characteristics and frames often enhance the media coverage outcomes of activist groups in mainstream venues, political elites have no effect at all. In contrast, organizational characteristics and frames do not affect social movement media coverage in partisan outlets, whereas political elites and event type do.
Originality of the paper – Conceptually, this research broadens how scholars think about the relationship between social movement groups and mass media as well as the factors that influence media outcomes.
Roland Joffé, the film-maker behind the significant critical hits The Killing Fields (1984) and The Mission (1986), employed a hypnotic aesthetic, which unflinchingly…
Roland Joffé, the film-maker behind the significant critical hits The Killing Fields (1984) and The Mission (1986), employed a hypnotic aesthetic, which unflinchingly depicted violence and brutality within different cultural contexts. In 2007, he used a no less impressive aesthetic in a similar way, although this film, Captivity, was met with public outcry, including from self-proclaimed feminist film-maker Joss Whedon. This was based upon the depiction, in advertisements, of gendered violence in the popularly termed ‘torture porn’ subgenre, which itself has negative gendered connotations.
We aim to revisit the critical reception of Captivity in light of this public controversy, looking at the gendered tensions within considerations of genre, narration and aesthetics. Critics assumed Captivity was an attempt to capitalize on the popularity of the torture horror subgenre, and there is evidence that the film-makers inserted scenes of gore throughout the narrative to encourage this affiliation. However, this chapter will consider how the film works as both an example of post-peak torture horror and an interesting precursor to more overtly feminist horror, such as A Girl Walks Home Alone at Night (2014) and Raw (2017). This is seen through the aesthetic and narrative centralizing of a knowing conflict between genders, which, while not entirely successful, does uniquely aim to provide commentary on the gender roles which genre criticism of horror has long considered implicit to the genre’s structures and pleasures.
This index covers all issues between February 2005 (Volume 9, Issue 1) and November 2008 (Volume 12, Issue 4). Numbers in bold refer to yolume, numbers in brackets refer to issue, with subsequent numbers to pages.