Open Access (free)
Bryony Dixon

screenable condition. As an archivist at the British Film Institute, I’ll try to explain what survives and why, and some of the really awkward technical, preservation and access problems. I must start with the nature of the collections relating to this period of film history, how they came to be where they are, and what was going on at that time in the international archiving world. The 1950s is a particularly

in British cinema of the 1950s
Open Access (free)
Film festivals and the revival of Classic Hollywood
Julian Stringer

-visual culture. The international festival circuit now plays a significant role in the re-circulation and re-commodification of ‘old’ and ‘classic’ movies. Taking the form of revivals, retrospectives, special gala screenings, and archive-driven events, the contemporary exhibition of such historical artefacts provides a powerful means of extending cinephilia into the second century of cinema through a process

in Memory and popular film
Catherine Baker

1 Popular music and the ‘cultural archive’ This book began its Introduction, and begins its chapter structure, not in the mainstream of international affairs (the politics of state socialist Non-Alignment, or postsocialist European border control) but with what might seem a more distant topic: popular music. It does so because the everyday structures of feeling perceptible through popular music are a readily observable sign that ideas of race are part of identity-making in the Yugoslav region; proving this point opens the way to revisiting

in Race and the Yugoslav region
Open Access (free)
James Baldwin’s Search for a New Film Form
Hayley O’Malley

James Baldwin was a vocal critic of Hollywood, but he was also a cinephile, and his critique of film was not so much of the medium itself, but of the uses to which it was put. Baldwin saw in film the chance to transform both politics and art—if only film could be transformed itself. This essay blends readings of archival materials, literature, film, and print culture to examine three distinct modes in Baldwin’s ongoing quest to revolutionize film. First, I argue, literature served as a key site to practice being a filmmaker, as Baldwin adapted cinematic grammars in his fiction and frequently penned scenes of filmgoing in which he could, in effect, direct his own movies. Secondly, I show that starting in the 1960s, Baldwin took a more direct route to making movies, as he composed screenplays, formed several production companies, and attempted to work in both Hollywood and the independent film scene in Europe. Finally, I explore how Baldwin sought to change cinema as a performer himself, in particular during his collaboration on Dick Fontaine and Pat Hartley’s documentary I Heard It Through the Grapevine (1982). This little-known film follows Baldwin as he revisits key sites from the civil rights movement and reconnects with activist friends as he endeavors to construct a revisionist history of race in America and to develop a media practice capable of honoring Black communities.

James Baldwin Review
Dominique Marshall

Rockbrune, responsible for postal shipment in schools, libraries, community organizations and homes over the same period. The article is also based on the collection of educational development materials donated by Marc Rockbrune to Carleton University Archives and Research Collections (ARC) five years ago. 1 The CIDA program made way for original practices of visual education at all levels. Its demise after two decades seems to be independent of the popularity it enjoyed. Several original contributions continued elsewhere: in some features that made their way in the age

Journal of Humanitarian Affairs
The Politics of ‘Proximity’ and Performing Humanitarianism in Eastern DRC
Myfanwy James

article also draws on MSF’s internal archives, in particular, security guidelines and Sitrep reports. The article is structured in three parts. The first outlines MSF’s work in North Kivu and the background literature. The second describes how local humanitarians’ histories and personal networks as well as their present situations are central to understanding MSF’s security management and access. The third describes the ‘risks’ of such embeddedness. The article concludes that Congolese staff embody the contradictions of MSF’s approach in North Kivu: a simultaneous

Journal of Humanitarian Affairs
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

visual politics at work in these movies and their paradoxical use, as they combine the needs-based and rights-based paradigms in the humanitarian response. Humanitarian Cinema at the End of World War I Interest in humanitarian cinema of the interwar period has grown since the historian Roland Cosandey discovered the whole collection on the Russian famine in the Swiss film library in 1998 ( Cosandey, 1998 ). Scholarship in humanitarian cinema has emerged in the last decade, after aid agencies sought to preserve and promote their film archives ( Junod, 2005

Journal of Humanitarian Affairs
Timothy Longman

conducted archival work, sorting through government documents in the regional office of Butare, the communal office of Nyakizu and several offices in other parts of the country to find letters, minutes from meetings and other documents related to security and violence. The bulk of this grass-roots research was completed within a year, but the book took several more years to complete, as Des Forges continued to chase down interviews and information across the globe. Appearing five years after the genocide, in 1999, Leave None to Tell immediately became the most

Journal of Humanitarian Affairs
Benoît Pouget

Based on a study of intersecting French archives (those of the Val de Grâce Hospital, the Service Historique de la Défense and the Archives Diplomatiques), and with the support of numerous printed sources, this article focuses on the handling of the bodies of French soldiers who died of cholera during the Crimean War (1854–56). As a continuation of studies done by historians Luc Capdevila and Danièle Voldman, the aim here is to consider how the diseased corpses of these soldiers reveal both the causes and circumstances of their deaths. Beyond the epidemiological context, these dead bodies shed light on the sanitary conditions and suffering resulting from years of military campaigns. To conclude, the article analyses the material traces left by these dead and the way that the Second Empire used them politically, giving the remains of leaders who died on the front lines of the cholera epidemic a triumphant return to the country and a state funeral.

Human Remains and Violence: An Interdisciplinary Journal
Jenny M. James

This review article charts the general direction of scholarship in James Baldwin studies between the years 2015 and 2016, reflecting on important scholarly events and publications of the period and identifying notable trends in criticism. While these years witnessed a continuing interest in the relationship of Baldwin’s work to other authors and art forms as well as his transnational literary imagination, noted in previous scholarly reviews, three newly emergent trends are notable: an increased attention to Baldwin in journals primarily devoted to the study of literatures in English, a new wave of multidisciplinary studies of Baldwin, and a burgeoning archival turn in Baldwin criticism.

James Baldwin Review