The neoliberal way of war: a critical analysis of contemporary British security in policy and practice.

Dominant paradigms of causal explanation for why and how Western liberal-democracies go to war in the post-Cold War era remain versions of the 'liberal peace' or 'democratic peace' thesis. Yet such explanations have been shown to rest upon deeply problematic epistemological and methodological assumptions. Of equal importance, however, is the failure of these dominant paradigms to account for the 'neoliberal revolution' that has gripped Western liberal-democracies since the 1970s. The transition from liberalism to neoliberalism remains neglected in analyses of the contemporary Western security constellation. Arguing that neoliberalism can be understood simultaneously through the Marxian concept of ideology and the Foucauldian concept of governmentality – that is, as a complementary set of 'ways of seeing' and 'ways of being' – the thesis goes on to analyse British security in policy and practice, considering it as an instantiation of a wider neoliberal way of war. In so doing, the thesis draws upon, but also challenges and develops, established critical discourse analytic methods, incorporating within its purview not only the textual data that is usually considered by discourse analysts, but also material practices of security. This analysis finds that contemporary British security policy is predicated on a neoliberal social ontology, morphology and morality – an ideology or 'way of seeing' – focused on the notion of a globalised 'network-market', and is aimed at rendering circulations through this network-market amenable to neoliberal techniques of government. It is further argued that security practices shaped by this ideology imperfectly and unevenly achieve the realisation of neoliberal 'ways of being' – especially modes of governing self and other or the 'conduct of conduct' – and the re-articulation of subjectivities in line with neoliberal principles of individualism, risk, responsibility and flexibility. The policy and practice of contemporary British 'security' is thus recontextualised as a component of a broader 'neoliberal way of war'.

Rotational aesthetics: Michael Bay and contemporary cinema’s machine movement

Digital imaging technologies enable a mastery of the visual that in recent mainstream cinema frequently manifests as certain kinds of spatial reach, orientation and motion. In such a context Michael Bay’s Transformers franchise can be framed as a digital re-tooling of a familiar fantasy of vehicular propulsion, US car culture writ large in digitally crafted spectacles of diegetic speed, the vehicular chase film ‘2.0’. Movement is central to these films, calling up Scott Bukatman’s observation that in spectacular visual media ‘movement has become more than a tool of bodily knowledge; it has become an end in itself’ (2003: 125). Not all movements and not all instances of vehicular propulsion are the same however. How might we evaluate what is at stake in a film’s assertion of movement as an end in itself, and the form that assertion takes, its articulations of diegetic velocity, corporeality, and spatial penetration? Deploying an attentiveness towards the specificity of aesthetic detail and affective impact in Bay’s delineation of movement, this essay suggests that the franchise poses questions about the relationship of human movement to machine movement that exceed their narrative basis. Identifying a persistent rotational trope in the franchise that in its audio-visual articulation combines oddly anachronistic elements (evoking the mechanical rather than the digital), the article argues that the films prioritise certain fantasies of transformation and spatial penetration, and certain modes of corporeality, as one response to contemporary debates about digital technologisation, sustainable energy, and cinematic spectacle. In this way the franchise also represents a particular moment in a more widely discernible preoccupation in contemporary cinema with what we might call a ‘rotational aesthetics’ of action, a machine movement made possible by the digital, but which invokes earlier histories and fantasies of animation, propulsion, mechanization and mechanization to particular ends.

Fakalakalaka : The impact of a Tongan notion of development in a contemporary transnational world

This paper aims to explore a Tongan notion of development –'fakalakalaka' – in light of Western notions of development. Two case studies of international development aid schemes illustrate the impact of Tongan development ideas in practice. Drawing on a number of ethnographers' work on Tonga, 'fakalakalaka' appears broader than the Western notion of development. The latter is characterised by influential ideals of controllability and industrialisation. The notion of development among Tongans, on the other hand, tends to be directed by an underlying persistence that, for instance, reflects Tongan core values regarding social organisation. The production of textile 'koloa', controlled by women, emerges as central to the accomplishment of this three-dimensional development notion of intertwined physical, mental and spiritual aspects. The importance attributed to this specific kind of textile has increased in recent years and found two additional roles, or development strategies, in Tongans' contemporary transnational world.

Citizens and Contemporary Science Ways to dialogue in science centre contexts.

The current paper presents a study conducted at At-Bristol Science Centre, UK. It is a front-end evaluation for the “Live Science Zone” at At-Bristol, which will be built during the autumn of 2004. It will provide a facility for programmed events and shows, non-programmed investigative activities and the choice of passive or active exploration of current scientific topics. The main aim of the study is to determine characteristics of what kind of techniques to use in the Live Science Zone. The objectives are to explore what has already been done at At-Bristol, and what has been done at other science centres, and to identify successful devices. The secondary aim is mapping what sorts of topics that visitors are actually interested in debating. The methods used in the study are deep qualitative interviews with professionals working within the field of science communication in Europe and North America, and questionnaires answered by visitors to At-Bristol. The results show that there are some gaps between the intentions of the professionals and the opinions of the visitors, in terms of opportunities and willingness for dialogue in science centre activities. The most popular issue was Future and the most popular device was Film.

Stranger than fiction : En studie kring berättarstruktur i en film

Denna uppsats är en narratologisk analys av berättarstrukturen inom filmen Stranger than fiction. Uppsatsen inleder med en terminologi samt en teoridel kring vad som är berättarstruktur. Utifrån detta analyserar jag filmen för att grundläggande redogöra kring hur den är berättad genom att först beskriva filmens totala fabula för att sedan analysera vad som egentligen förmedlas och på så sätt även komma fram till en slutsats kring filmens totala berättarstruktur. Resultatet visar på att Stranger than fiction är berättad genom flertalet olika nivåer som visar på två olika berättare inom två olika diegeser som förmedlas genom samma berättare. Detta resultat leder till en tematisk diskussion ett postmodernt ontologiskt syfte som genom filmens komplicerade narratologiska struktur försöker förmedla budskapet ”lev det liv du vill ha” samt ”livet blir viktigt först när döden gör sig synlig.