Suite (212) podcast presented by Juliet Jacques and Tom Overton returns. In this episode, Juliet interviews Israeli filmmaker Avi Mograbi about chronicling the Occupation and Israeli politics more generally, and his experiments with the documentary form
In 2003, John Bolton stated that the United States would not subject its actions to the constraints of the ICC. More than a decade later, the US still opposes any ICC sanctions against itself or its allies. In this chapter from The WikiLeaks Files, Linda Pearson explains how "elite immunity" ensures that many of those responsible for human rights abuses remain unreachable under international law.
Feminism is not an import from the West explains Kumari Jayawardena in this excerpt from Feminism and Nationalism in the Third World.
"As a revolution, 1968 failed [....]. Nevertheless, 1968 changed almost everything in both culture and politics."
Linda Roland Danil explores Freud's ambiguous position on women's emancipation in light of the #metoo movement.
Max L. Feldman on Jacob Rees-Mogg's nostalgic view of British history and the pitfalls of creating a national military myth.
Karl Polanyi is being hailed as the intellectual inspiration behind Labour's new economic strategy. But, as Gareth Dale notes, his work, though rich, lacks a thorough conception of political power.
Ralph Miliband on how the reasonable men of capitalism orchestrated a coup against Salvador Allende in Chile 45 years ago today.
Is Benedict Anderson's Imagined Communities more relevant than ever? Now 50% off as part of our Student Reading Sale.
Tom Mills, author The BBC: Myth of a Public Service, discusses the problems of the UK media, the Labour Party leadership's proposals for media reform, and the media class's aversion to workplace democracy with Alex Doherty on the Politics Theory Other podcast
Stathis Kouvelakis on how Yorgos Lanthimos' Dogtooth can help us understand Tsipras's capitulation to the Troika.
In the first part of the series Unlearning Decisive Moments of Photography, Ariella Azoulay urges us to unlearn the knowledge that calls upon us to account for photography as having its own origins, histories, practices, or futures, and to explore it as part of the imperial world that we operate in.