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The paper details the construction of a postcolonial feminist approach to ethnography; providing insight into how the researcher developed her ethnographic approach based on her theoretical framework and demonstrating how she undertook this research. Specifically, the purpose of this paper is to outline how the researcher identified positionality and representation as the primary challenges of undertaking a postcolonial feminist ethnography with marginalised Maya women in Guatemala, and how she addressed these complexities in the field.

This postcolonial feminist ethnography was conducted over a three-month period in the rural highlands of Sololá, Guatemala. This approach bridges the intersections of postcolonial, feminist, critical and reflexive research.

The account presented in this paper offers insight into the theoretical development of a postcolonial feminist ethnography and its implementation in practice. The researcher demonstrates the importance of addressing the issues of positionality and representation to overcome differences in position, privilege and power when building relationships with participants, and to ensure the participants and their knowledge are accurately represented.

This paper contributes to the growing interest in postcolonial research and proposes a postcolonial feminist ethnography as an alternative approach for engaging in research with the marginalised Other.

This paper aims to examine some of the broader social consequences of enabling digital rights management. The authors suggest that the current, mainstream orientation of digital rights management systems could have the effect of shifting certain public powers into the invisible hands of private control. Focusing on two central features of digital rights management ‐ their surveillance function and their ability to unbundle copyrights into discrete and custom‐made products ‐ the authors conclude that a promulgation of the current use of digital rights management has the potential to seriously undermine our fundamental public commitments to personal privacy and freedom of expression.

The purpose of this paper is to describe and analyze experiences embedding community service learning into an assignment for a bachelor of social work course. The author used these experiences and their connections with early conceptions of progressive education and community work principles to present a pragmatic and supple community service learning (SCSL) model.

In total, 15 students and four community organizations participated in SCSL. Data consisted of focus groups, participatory observation, evaluations, e-mails, and documents. Naturalistic case study methodology was employed to retrospectively describe a noteworthy teaching and learning experience.

The SCSL model was judged useful for weaving current local realities into course lectures, promoting professional development, and providing community organizations with timely research syntheses. It seemed no more demanding than other teaching experiences. Six features of the model were deemed beneficial: multi-course scaffolding, bottom-up management, asymmetrical student roles, integration of academic and experiential learning, and student involvement in course delivery. Relevant contextual factors included: small class size, maturity of students, and cohesion within cohort.

A single teaching experience and a small sample of participants informed this case study. Further research is needed to draw firm conclusions about SCSL’s usefulness and generalizability.

Acknowledging that it is based on limited evidence, SCSL appears to be a promising model for encouraging knowledge mobilization between universities and community organizations, and providing future professionals with experience in such activities.

This paper describes and analyzes the pedagogic value of SCSL, a manageable and adaptable teaching model for busy faculty.

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.