The potential for scaling up container-based sanitation in informal settlements in Kenya

Kenya has enshrined the right to sanitation in the 2010 constitution. Achieving this requires scaling up infrastructure and models of delivery beyond sewer networks that have previously been the focus. In Kenya, two enterprises, Sanergy and Sanivation, have been providing new forms of off-grid services with container-based sanitation (CBS). This paper uses a political economy analysis to understand the incentives, institutions and power dynamics that are enabling or constraining the potential for such off-grid sanitation models. The paper outlines six core problems to be addressed in the pursuit of scaling up: fragmented governance; sustainability of CBS enterprise models; service delivery planning in informal settlements; personal power rather than institutions in decision-making; vested local interests; and land tenure and political connection. It discusses how stakeholders might work collaboratively to progressively address or recognise these issues

Enterprises of the Feeble: The Makings of Cinema in Colonial Korea

In this dissertation, I examine the troubled unfolding of Korean cinema in the Japanese empire between the 1920s and the 1940s. I challenge the narratives of film history that those holding the perspectives of the empire have written by foregrounding the coloniality in creating cinema in East Asia. At the heart of colonial articulations of Korean cinema lie its industrial weakness, unappreciated aesthetics, and the filmic representations of feeble figures such as the disabled, wanderers, and orphans. Together, these constitute what I term “the feebleness of colonial cinema.” I investigate various projects through which filmmakers, business people, critics, and colonial bureaucrats have undertaken in order to come to terms with their cinema’s feebleness in colonial Korea. In so doing, I show the different ways in which colonial Korean cinema was defined, articulated, imagined, and created by different actors in this history. In Part I, “Change Corporatized,” I analyze one of the dominant ways in which the Korean film world wrestled with its own industrial and aesthetic problems: the “corporatization,” or kiŏphwa, of the film business in colonial Korea. Faced with the industrial constraints of insufficient resources and lagging technological development, Korean filmmakers sought external aid to form a more rational industry. The discourses and practices of Korean cinema’s corporatization were situated alongside changes in film policies that were enacted during the height of Japan’s colonial wars in Asia and the Pacific. Since the colonial government could provide the help that was necessary to turn the feeble cinema into a healthy film industry, filmmakers in Korea participated in the empire’s project of utilizing cinema as a cultural and ideological weapon for its warfare. Tracing the changing articulations of Korean cinema from the early debates about the relationship between cinema and Korean audiences to the establishment of state film corporations, I investigate the entanglement between corporatization and imperialization and show how Korean filmmakers’ wartime collaboration with Japanese imperialism was profoundly grounded in their visceral awareness of, and longing to overcome, cinema’s feebleness. However, Koreans’ colonial experiences during this period cannot be reduced to the sole acts of wartime collaboration. Colonial Korean cinema’s industrial and aesthetic feebleness, alongside the representation of the feeble, led to multiple projects that turned the studios into laboratories of the future. In Part II, “For a Feeble Cinema,” I reinscribe this feebleness as the manifestation of several different imaginations, despite the highly constrained era, by examining three sites of colonial cinema’s contestation and negotiation with the dominant force of corporatization: (1) The rearticulation of Koreanness through early collaborative filmmaking between Koreans and the Japanese; (2) the revaluation of feeble figures on screen not as an undesirable representation of the colonized, but rather as a strategy for promoting themes and aesthetics unique to Korean cinema for broader audiences in the empire; and (3) a theoretical imagining of a visionary cinema that embraces its own vulnerability as a creative energy. At times failing, these projects exemplified the varying ambitions of filmmakers, entrepreneurs, film theorists, and colonial bureaucrats toward colonial cinema. By examining what colonial Koreans failed to do in terms of what they attempted, I argue that Korean cinema’s feebleness paradoxically animated and enriched the political and aesthetic possibilities of colonial cinema.PHDAsian Languages & CulturesUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/146131/1/irhesohn_1.pd

Parameters of Disavowal

The colonial experience of the early twentieth century shaped Korea’s culture and identity, leaving a troubling past that was subtly reconstructed in South Korean postcolonial cinema. Relating postcolonial discourses to a reading of Manchurian action films, kisaeng and gangster films, and revenge horror films, Parameters of Disavowal shows how filmmakers reworked, recontextualized, and erased ideas and symbols of colonial power. In particular, Jinsoo An examines how South Korean films privileged certain sites, such as the kisaeng house and the Manchurian frontier, generating unique meanings that challenged the domination of the colonial power, and how horror films indirectly explored both the continuing trauma of colonial violence and lingering emotional ties to the colonial order. Espousing the ideology of nationalism while responding to a new Cold War order that positioned Japan and South Korea as political and economic allies, postcolonial cinema formulated distinctive ways of seeing and imagining the colonial past

Urban Planet

Global urbanization promises better services and stronger economies but also carries risks and unforeseeable consequences. Urban Planet highlights the hopes and hindrances of our journey of urbanization and the need for a parallel evolution of our science and systems to ensure we reap the rewards. This title is also available as Open Access

Conservation Research, Policy and Practice

Developed following the success of an international symposium, this book examines how to make conservation more effective through strengthening links between science research, policy and practice. Ideal for practitioners, researchers, graduate students and policymakers. This title is also available as Open Access on Cambridge Core

Unseen Horrors: The Unmade Films of Hammer

This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding. Chapter 6 explores the company’s closure in 1979 and the tenure of Roy Skeggs, through the protracted production of Vlad the Impaler. The thesis concludes by reiterating how the analysis of these unmade case studies can enrich the broader contexts of company and production histories, and are essential to our wider understanding of film history

Genomic Sovereignty and "The Mexican Genome"

ABSTRACT This PhD seeks to explore the development of a bio-molecular (i.e., genomic) map as a sovereign resource in Mexico. The basic analytical thread of the dissertation is related to the circulation of genomic variability through the policy/legal and scientific social worlds that compose the Mexican medical-population genomics arena. It follows the construction of the Mexican Institute of Genomic Medicine (INMEGEN), the notion of genomic sovereignty, and the Mexican Genome Diversity Project (MGDP).The key argument for the construction of the INMEGEN relied in a nationalist policy framing, which considered the Mexican genome as a sovereign resource, coupling Mexican “uniqueness” to the very nature of genomic science. Nevertheless, the notion of genomic sovereignty was nothing similar to a paradigm, and was not based on shared visions of causality, since the very “nature” of the policy object —Mexican Genome— was, and still is, a disputed reality. It was through the rhetoric upon independence, emancipation and biopiracy: i.e. experiences of dispossession “in archaeology, botany or zoology” (IFS 2001: 25) that the novelty of population genomics became amenable to be understood as a sovereign matter. Therefore, the strategic reification of Mexicanhood fuelled the whole policy and the legal agenda of the INMEGEN as well, which permitted cooperation without consensus and opened the process of policy innovation. Conversely, scientists considered genomic sovereignty an unfounded exaggeration, but anyhow they cooperated and even created a new policy and scientific enterprise. Genomic sovereignty exemplifies the process of cooperation without consensus on its most extreme version .So, as the notion circulated and gradually became a law to protect Mexican genomic patrimony, the initial coalition of scientists, lawyers and policy makers disaggregated. Many of the original members of the coalition now think of genomic sovereignty as a strategy of the INMEGEN to monopolise genomic research in the country. This dissertation additionally explores the way in which the MGDP is constructed in mass media, in INMEGEN´s communication and in the laboratory practices. These different dimensions of the MGDP depict the difficulties that emerge between the probabilistic, relative and multiple constructions of population genomics and the rhetorical strategies to continually assert the existence of the unique “Mexican Genome”. I argue that the Mexican case study provides an entry point to what I and others (Benjamin 2009; Schwartz-Marin 2011) have identified as a postcolonial biopolitics in which the nation state is reasserted rather than diluted. However the relation between sovereignty, race and nation is not mediated by the biological purification of the nation (Agamben 1998; Foucault 2007), or the active participation of citizens looking to increase their vitality (Rose 2008, Rose & Rabinow 2006), but on an awareness of subalternity in the genomic arena and a collective desire to compete in the biomedical global economy.CONACY

Water driven Palestinian agricultural frontiers: the global ramifications of transforming local irrigation

In agricultural transformations, small scale farmer driven processes interact with globally driven processes. Donor-led or foreign investor-led irrigation development systematically interacts with local, farmer-led irrigation development. This article harnesses Kopytoff's concept of 'interstitial frontier' to study such interactions. It discusses the shape an agricultural frontier may have and its interactions with local forms of water and land tenure. It discusses the manner in which changing access to water may spur the development of agricultural pioneer fronts. It distinguishes surface water driven, groundwater driven and wastewater driven agricultural frontiers. It then explores the manner such frontiers are transforming water tenure in the West Bank. This is an important aspect of the globalization of Palestinian society. The method this article develops is applicable elsewhere.  Within interstitial frontiers, investors, whether local farmers or outsiders, enroll a globally maintained scientific discourse of efficient water use to secure donor funding. Meanwhile, they try developing clientelist ties with the authorities to secure their new access to water. The impacts on neighbouring, peasant-run irrigated systems, food security, housing security and many other mechanisms that sustain a society, are important and too often neglected

The Unbearable Lightness of International Relations : Technological Innovations, Creative Destruction and Assemblages

How could one oversee the monumental modern landscape that has been created by over 250 years of continuous technological innovations? Notwithstanding a few students of international relations who have insisted in taking notice, technology has remained an exotic subject matter in International Relations theory (IR). While the interest in technologies is recently growing most IR scholarship remains silent: the fact that we live in a fully integrated and interconnected technological world is absent from textbooks and introductions to IR. Neither exists theoretical approaches and paradigmatic debates that are concerned with technologies; nor a specific intra-disciplinary subfield. Against this background, this book explores how technological innovations could be theorized and integrated into IR theories. Revisiting the inroads of theoretical approaches to technologies, it highlights the lightness of IR scholarship. I argue that the general framework of IR is untenable because it looks at the world as if there were no materials or rather, as if the pervasive presence of artifacts and infrastructures would have no theoretical relevance for conceptualizing and examining world politics. Drawing on ontological and epistemological understandings from anthropology, innovation economics, and science and technology studies, I take issue with the philosophical foundations of the discipline. The notions, concepts and practices, which ultimately sustain and legitimize this lightness, are interrogated. It is shown that the neglect of technological innovation does not merely result from coincidental intellectual moves. It is rather the result of the “Cartesian complex” – the foundational commitment that renders IR a purely social science that deliberately excludes non-humans and hybrid material modes of agency. A radical refashioning is therefore required to the extent to which IR theory aims to accommodate the highly complex and elusive subject matter of technological innovations. This conceptual catharsis does not primarily touch upon epistemological concerns. What is at stake is the limitation of ontological parameters that sustain IR theories. To make sense of the messy technological landscapes, the material agency, and the technologically mediated practices, the prevailing logocentric wisdom needs to be transcended. Against premature metaphysical closure, this book thus contributes to the task of ontological expansion. Firstly, it develops an alternative meta-theoretical foundation coined “explorative realism”. A new meta-theoretical matrix is proposed that renders wider ontological parameters intelligible. Especially, the “double-mixed” zone encourages ontological expansion via notions of heterogeneous agency and process philosophy. This implies that IR scholars avoid treating time, space, knowledge, artificial objects, and built environments as constants but as always croproduced. A coproductive commitment opens up new empirical issues and concerns as well as radically different theoretical puzzles. It also implies overcoming Cartesian dualism, abandoning intentionality-based notions of agency, and forgetting the “level of analysis” assumption. Secondly, this book advances a theoretical toolbox consisting of the interrelated concepts of “assemblages” and “creative destruction”. The former term signifies actor-networks entailing both humans and non-humans. The latter captures the ways in which technological innovations alter or destabilize assemblages across all levels through a process of translation. This theoretical vocabulary also reconceptualizes the meaning of “power”, “authority” with reference to technological innovations. Three open-ended classifications and three models of creative destruction enable the mapping of magnitudes of translations, the changing size and topologies of assemblages and the shifting power and authority. These efforts to theorize technological innovations, then, support empirical research on global transformations and processes of emergence with a set of conceptual tools that allows locating and systematizing cases, puzzles, and scales in relation to assemblages. The study of technological innovations is productive and challenging. It leads to the discovery of novel empirical landscapes and inspires a creative questioning of IR’s foundations. As such, while responding to the stunning absence of theoretical approaches in IR that make sense of technological innovations, this study contributes to the articulation of both a post-international and post-Cartesian version of IR