Film as an archive for colonial photographs: activating the past in the present

This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.

Active energy - London: capital / climate / culture

As negotiators and the media descended on Paris, the Festival explored how culture in London interacts with the climate crisis through bringing together artists, journalists, politicians and academics to debate London’s role as a city of fossil fuels, and the responsibility of culture to drive a rupture with business as usual. The Active Energy project provided an example of how older citizens are able to draw on their extensive life experience to help counter climate crisis, and the role of the arts in facilitating that process.

The R2P is Dead, Long Live the R2P: The Successful Separation of Military Intervention from the Responsibility to Protect’

Roland Paris is one of those authors whose work is always enjoyable, as he exploits so well the gap between the policy world and academia. His best work reveals a high level of policy insight often before many of his colleagues in academia have caught up. His secret is an ability to analyse the shifting understandings at policy level and to then articulate them in academic terms as if critiquing current policies. This enables his work to be both popular with policy-makers and with their erstwhile critics in academia. His 2004 monograph, At War’s End, captured the shift from peacekeeping intervention and ‘early exit’ to the extended remits of international statebuilding (‘Institutionalization before Liberalization’). It provided a wonderful rationalisation of policy shifts that had already occurred in the late 1990s, starting with the extension of international mandates in Bosnia, from 1996 onwards, and further developed with the Kosovo protectorate in 1999. However, this shift was skilfully reposed as a critique of existing policy-understandings.