Recognising Ecological Contexts of Diverse Ethnic Groups: Experiences of British-Indian Adult Children of Divorce

The process of divorce as a family change process including outcomes and consequences has received considerable research attention in the western context. However, the experience of divorce for children within specific ethnic contexts has been rather limited leading to poor planning and practice provision with diverse families. By drawing upon an empirical qualitative study of British Indian adult children, this paper will make a case for recognising diverse needs within specific historical, socio-cultural and developmental contexts. There is a need to acknowledge these contexts in policy design to establish practice that is flexible, accessible and relevant to the needs of different and diverse communities. Results indicate that areas of impact may be similar to those identified by other studies within the literature review. However, the experiences, expressions, implications and larger consequences of impact are located within specific socio-cultural contexts. In support of this, major findings of the study (outlined below) will be discussed - Context: patriarchy, stigma, immigration; Impact: economic, social, emotional, career/education, physical; Coping: psychological strategies, physical strategies, social strategies, sources of support.

Funding, ideology and the aesthetics of the development film in postcolonial Zimbabwe

This article considers the relationships between aesthetics and ideology in donor-funded ‘development’ film-making from Zimbabwe, examining in particular how the films’ producers have attempted to popularize a genre of film-making that has its roots in colonial cinema. Making close reference to two productions from the Harare-based Media for Development Trust (MFD) – Neria (Godwin Mawaru, 1992), and Everyone’s Child (Tsitsi Dangarembga, 1996) (both of which may be regarded as archetypal examples of their genre) – the article demonstrates how the films deploy a range of aesthetic strategies to imbue a set of narratives drawn from colonial development films with greater impact and cultural resonance for contemporary local audiences. The article also suggests that close analysis of these strategies may provide insights into the relationships between the films’ aesthetic dimensions and wider ideological issues in the region.