When a major landslide and floods devastated Freetown, Sierra Leone had just overcome the Ebola crisis, which had left its mark on socio-political relations between…
When a major landslide and floods devastated Freetown, Sierra Leone had just overcome the Ebola crisis, which had left its mark on socio-political relations between different disaster response actors. With international disaster response frameworks increasingly shifting to local ownership, the national government was expected to assume a coordinating role. However, in “post-conflict” settings such as Sierra Leone, intra-state and state–society relations are continuously being renegotiated. This study aimed to uncover the complexities of state-led disaster response in hybrid governance setting at national and community levels in the response to the 2017 landslide and floods.
During the four months of fieldwork in Freetown in 2017, semi-structured interviews and focus group discussions with various state, aid and societal actors were conducted.
The findings show that a response to policy building on the idea of a uniform state response did not take into account intra-state power politics or the complexity of Sierra Leone's hybrid governance.
This paper argues for a more nuanced debate in humanitarian governance and practice on the localisation of aid in post-conflict and fragile settings.
The study's findings contribute to the literature on the disaster–conflict nexus, identifying paradoxes of localised disaster response in an environment with strong national–local tensions. The study highlights intra-local state dynamics that are usually overlooked but have a great impact on the legitimacy of different state authorities in disaster response.
Achieving localisation (the transfer of control to local actors) has proven extremely challenging in the development sector, and the humanitarian sector appears to be facing equal challenges. This chapter seeks to engage with that struggle and examine why this lesson has been so difficult to learn. Drawing on conference workshops and 10 key informant interviews, this paper examines the obstacles and opportunities for localisation, seeking to understand what makes it so hard for those who hold disproportionate power in humanitarian encounters to hand over power. The authors found a clear sense of localisation being a process rather than an outcome; optimism that momentum is slowly gathering towards this process, and a clear sense of the steps required to fully achieve it. Examining practitioners’ perspectives in this way adds an important voice to discussions of humanitarian practice.
The horror genre is and always has been populated by women, who can be seen to be at once both objectified and empowered. Building off the preexisting gender hierarchies…
The horror genre is and always has been populated by women, who can be seen to be at once both objectified and empowered. Building off the preexisting gender hierarchies and dynamics embedded in the history of horror cinema, this chapter looks at a number of New French Extremity films that assault audiences with unrelenting scenes of violence, torture and self-mutilation, which are performed almost exclusively upon or by women. Although the films of the New French Extremity have been dismissed as exploitative in their representations of wounded and suffering female bodies, their narratives also offer internal criticisms of the misogynistic portals of victimhood that are prevalent in the genre. Through a close analysis of the films Inside (Bustillo & Maury, 2007) (French title: À L’intérieur) and Martyrs (Laugier, 2008), this chapter will examine how both films deviate from the male monster/female victim dichotomy. Although the women of these films may start off vulnerable, they take charge of their situations, while also compacting the nature of feminine identity.
Since the turn of the Millennium, horror has had a resurgence both in cinema and in television. With programmes like The X-Files and Buffy the Vampire Slayer paving the way for other horror shows such as The Walking Dead, American Horror Story and Penny Dreadful, this introduction discusses the way that TV has become a bedrock of new, exciting, vibrant and bold horror productions.