I’m currently sitting in departures at Heathrow Terminal 5 having spent the last few days at Royal Holloway, University of London attending the Childhood and Nation in World Cinemas: Borders and Encounters since 1980 conference. With plenty time to kill before my flight, now seems as good a time as any to write up my experience of the conference – which, in short, was one of, if not the best conference I’ve been to in my academic career so far.
Continue reading Childhood and Nation in World Cinemas Conference (Royal Holloway, University of London, April 2016)
Last week, one image dominated most media outlets: that of three-year-old Syrian Aylan Kurdi. The image first appeared on my Twitter timeline on Wednesday night. On Thursday morning, I went to work (I work in a supermarket) to see that the image had been printed on the majority of that day’s newspapers including The Guardian and The Daily Mail. It was Friday before I saw any mention of the young boy’s name on Twitter. Subsequent images have appeared reappropriating the original photograph, including a cartoon and a sand sculpture (neither of which I am prepared to upload or link to here).
This image has provoked awareness of the gravity of the situation in Syria and what now seems to be being referred to as the ‘global migration crisis’, as well as outrage in the form of demands for political accountability and for the provision of aid and assistance for those caught up in the crisis. This is of course a welcome change given the prominence of narrow-minded and xenophobic attitudes towards migrants and migration often championed in some media outlets (Daily Mail, I’m looking at you). However, I am struggling with the politics and ethics of printing and/or sharing this image. I will try to articulate my reasons here, hopefully with some degree of success. I appreciate that this is an emotive topic and that not everyone will agree with my position. But my contention is that the image of the dead child is not only unethical, but also politically-charged and highly manipulative.
Continue reading The Politics of (the Image of) the Dead Child