The Uninsured at the Starting Line: Findings from the 2013 Kaiser Survey of Low-Income Americans and the ACA

In January 2014, the major coverage provisions of the 2010 Affordable Care Act (ACA) went into full effect. These provisions include the creation of new Health Insurance Marketplaces where low and moderate income families can receive premium tax credits to purchase coverage and, in states that opted to expand their Medicaid programs, the expansion of Medicaid eligibility to almost all adults with incomes at or below 138% of the federal poverty level (FPL). The ACA has the potential to reach many of the 47 million Americans who lack insurance coverage, as well as millions of insured people who face financial strain or coverage limits related to health insurance. Though implementation is underway and people are already enrolling in coverage, policymakers continue to need information to inform coverage expansions. Data on the population targeted for coverage expansions can help policymakers target early efforts, provide insight into some of the challenges that are arising in the first months of new coverage, and evaluate the ACA's longer-term effects. The Kaiser Family Foundation has launched a new series of comprehensive surveys of the low and moderate income population to provide data on these groups' experience with health coverage, current patterns of care, and family situation. This report, based on the baseline 2013 Kaiser Survey of Low-Income Americans and the ACA, provides a snapshot of health insurance coverage, health care use and barriers to care, and financial security among insured and uninsured adults across the income spectrum at the starting line of ACA implementation. The report also examines how findings from the baseline survey can help policymakers understand and address early challenges in implementing health reform

Imagining multicultural London: containment and excess in snatch

Snatch (Guy Ritchie, 2000) is a comic-book gangster film that can be seen to represent the backlash against perceived notions of political correctness in what is effectively a public-schoolboy fantasy of working-class life in East London. However, the film also delineates the limits of this backlash in its depiction of minorities as either contained or excess. This is highlighted through the comic-book genre itself as well as the characterization. Thus this article explores the tension between the genre, representation and Jewish identity

Negotiating the British landscape

According to many accounts, a key paradigm for understanding art in Post WWII Britain is one of Englishness versus internationalism or abstraction versus realism . These terms have a rich inflection of meanings that have been subject to interrogation over the last few decades. Anwar Shemza came to Britain and practiced his art at a time when these competing claims were at their height. In a postcolonial reading entitled “Black Diaspora Artists in Britain: Three ‘Moments’ in Post-War Britain” Stuart Hall recently used David Scott’s framework of a ‘problem space’, that is discursively defined through questions, tensions and conjunctures, that couched the entry of what he describes as first waive British commonwealth artists into critical visibility in Britain. This can be characterized in part by the reviews of WG Archer and GM Butcher, both supporters of Shemza and prominent critics of the period. Hall includes Shemza in this framework that defines the work and his aspirations as constituted through the tensions of what was perceived to be anti-colonialist aims of modernism through universalism and the ‘nativist’ current in anti-colonial nationalism . This text will focus particularly on the problematic of Landscape as a ‘problem space’ of vernacular and modernism, over here and over there. The aim is not to define Shemza within the tradition of English landscape nor to exclude him but to position him within a discursive field of landscape and modernism in mid twentieth Century art

The Uninsured at the Starting Line in California: California findings from the 2013 Kaiser Survey of Low-Income Americans and the ACA

This report, based on findings from the 2013 Kaiser Survey of Low-Income Americans and the ACA, provides a snapshot of health insurance coverage, health care use and barriers to care, and financial security among insured and uninsured California adults across the income spectrum at the starting line of ACA implementation. The survey, conducted between July and September 2013, is a nationally representative survey that also includes a state-representative sample of over 2,500 nonelderly (age 19-64) adults in California. It was designed to focus on the low- and moderate-income populations in the state and includes over-samples of people in the income range for financial assistance under the ACA (< 138% FPL for Medi-Cal and 139-400% FPL for Covered California), as well as a comparison group with incomes over 400% FPL. The survey includes adults with employer coverage, nongroup, Medi-Cal, and other sources of coverage, as well as those with no health insurance. The California component of the survey and report on its findings complements a report on similar findings for the nation. This survey and report provides new data to help policymakers further understand early challenges in implementing health reform and assist outreach and enrollment workers, health plans, and providers and health systems. This survey also provides a baseline for future assessment of the impact of the ACA in California on health coverage, access, and financial security of low- and moderate-income individuals

Maximalism as a Cosmopolitan strategy in the art of Ruth Novaczek and Doug Fishbone

Ruth Novaczek and Doug Fishbone: Cosmpolitanism, Jewishness and Art This paper looks at the work of the experimental film-maker Ruth Novaczek and the artist Doug Fishbone to think through the relationship between the cosmopolitan imagination, Jewishness and the visual arts. I suggest through my analysis of their art work that both artists proffer a cosmopolitan subject that arises out of their Jewish subjectivity. I will do this in different ways, discussing the art- works both in their various forms as well as the subject matter within the films. I will think through two recent publications on the cosmopolitan and art by Marsha Merskimmon and Nikos Papastergiadis to discuss what is at stake in the cosmopolitan in relation to the two artist case studies. Central to my argument is a maximalist tendency that goes against the usual current paradigmatic trend of the “long look” that was first articulated by the influential André Bazin as more real than the dialectical editing techniques argued (and performed) by Sergei Eisenstein. But neither am I arguing for a return to Eisenstein. Maximalism, as offered by the work of these artists signifies an excessive overloading that allows the viewer to insert themselves into the narrative of the work through the editing, the collage, and in the density of the range of the material. Finally, I will be bringing the formal discussion into dialogue with the explicit meaning developed by the art-work. Each of these artists proffer an unstable subject that is profoundly formed out of their Jewish and Diasporic subjectivity. This arises not just out of the formal structural scaffolding of the work but in terms of the subject matter within the work. They both explicitly use Jewish cultural references as a normative navigational tools in the work and as a way of forming their cultural worlds. These references range from dialogues of Jewish characters in cinema, to Jewish jokes and use of Yiddish or Hebrew. Importantly Jewish religion or ritual is absent. For both of these artists the Holocaust is a backdrop but not as way to valorize a victim status but as a way to reach out to a wider humanity and to understand its legacies. This is done through multi-positionality and the questioning of what a ‘home’ might be outside of an attachment to a nation state or a singular geographic location and embracing that estrangement. In sum, I will argue that the work offers a reiterative provisionality as a refusal to judge or to know the world; instead there is an attempt to incorporate its complexities and range into the vision of the work, challenging the viewer to identify what is at stake in the work and in the subject

Russians Back Protests, Political Freedoms and Putin, Too

Presents survey findings about Russians' reaction to the December 2011 parliamentary and March 2012 presidential elections and subsequent protests, attitudes toward democracy, and views of leaders, nationalism, and Russia?s global image

Parallel editing, multi-positionality and maximalism: cosmopolitan effects as explored in some art works by Melanie Jackson and Vivienne Dick

Garfield produces a critique of neo-minimalist art practice by demonstrating how the artist Melanie Jackson’s Some things you are not allowed to send around the world (2003 and 2006) and the experimental film-maker Vivienne Dick’s Liberty’s booty (1980) – neither of which can be said to be about feeling ‘at home’ in the world, be it as a resident or as a nomad – examine global humanity through multi-positionality, excess and contingency, and thereby begin to articulate a new cosmopolitan relationship with the local – or, rather, with many different localities – in one and the same maximalist sweep of the work. ‘Maximalism’ in Garfield’s coinage signifies an excessive overloading (through editing, collage, and the sheer density of the range of the material) that enables the viewer to insert themselves into the narrative of the work. In the art of both Jackson and Dick Garfield detects a refusal to know or to judge the world; instead, there is an attempt to incorporate the complexities of its full range into the singular vision of the work, challenging the viewer to identify what is at stake

The Stephen Dwoskin dossier: introduction

This dossier aims to consider the contribution Stephen Dwoskin and his work made to the development of film and its infrastructure in the UK from 1964 when he arrived in the London until his death in 2012. Dwoskin not only straddled different contexts and ideologies about film but advocated for the support of work in a wide variety of forms. Because of this he was not easily categorizeable. Much of the work analyzing his camera work and his contribution to film is written in French and there is little, particularly in recent years, in English. As such this dossier constituted an important contribution to the reassessment of a singular avant-garde artist and film maker. (can I use avant garde here?) In the light of his recent death this is a timely moment for a consideration of Dwoskin’s achievements and legacy. As well as having a groundbreaking vision of what film could do, he was an influential figure and constituting force in terms of the milieu and structures that supported the independent film world in the UK for several decades. Much of the literature surrounding this world in the UK has been formed by key figures making sense of their part in history. This dossier aims towards some first steps in historicising his legacy. Two of the proposed texts will be making use of new material to conduct original research made available through the recently acquired Dwoskin Archive at University of Reading. Due to Dowksin’s heterogenous involvement in film, there are many ways in which Dwoskin can be considered and the proposed essays will take a range of perspectives to assess and analyse his contribution