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Unabridged paperback edition with postface and chronology of African current affairs in the 1990s ; Incl. bibl.

1930s: the Great Depression and the start of World War II -- 1940s: World War II and the onset of the Cold War -- 1950s: Anti-communism, relative economic prosperity at home and a growing cold war abroad -- 1960s: era of protest: civil rights, Vietnam, and counterculture -- 1970s: Watergate, normalization of relations with China, continuing social and political protest, the growth of international terrorism, and stagflation -- 1980s: Ronald Reagan, the fall of the Berlin wall, the Soviet war in Afghanistan and AIDS -- 1990s: the collapse of the Soviet Union and Yugoslavia, the first Gulf War, the genocide in Rwanda, Bill Clinton, and the rise of the internet -- 2000s: decade of 9/11, the Iraqi war, the great recession, and the election of Barack Obama -- 2010s: war against ISIS, the Tea Party, Black Lives Matter, Brexit, and the election of Donald Trump -- 2020: COVID-19, the killing of George Floyd and protests, an attempt to overthrow an election.

James L. McClain, A Modern History of Japan. NY and London: W.W. Norton and Co., 2002. Pp. 650. L. M. Cullen, A History of Japan, 1542–1941. Cambridge: Cambridge University Press, 2003. Pp. 376. Andrew Gordon, A Modern History of Japan from Tokugawa Times to the Present. New York: Oxford University Press, 2003. Pp. 400.

Female filmmakers are hitting the headlines. The last five years have witnessed: the first Best Director Academy Award won by a woman; women filmmakers emerging from Saudi Arabia, Brunei, Iran, South Korea, Japan, Paraguay, Uruguay, Burkina Faso and Kenya; the first stirrings of a 'trans cinema', with the release of films that represent transgender characters and their experiences, challenging our understanding of gender and identity; feminist porn screened at public festivals; and Pussy Riot's online documentation of offline activism sending shockwaves around the world. Political Animals argues that a new wave of feminist cinema is speaking to a new audience hungry for intersectional accounts of women in the public sphere that are missing in the mainstream. It reveals how innovative production and distribution strategies are responding to urgent political situations (resulting in colourful guerrilla aesthetics exemplified in the rough, D.I.Y, online videos made by Pussy Riot, but equally found in recent documentaries and features by established filmmakers too) and tunes in to the transnational, transgenerational conversations that are taking place between filmmakers such as Sally Potter, Claire Denis, Barbara Hammer, Mania Akbari, Haifaa al-Mansour, Emily Jacir, Andrea Arnold and Clio Barnard. Courageous and complex, the new feminist cinema is a political animal that, while laying claim to the public sphere as its own, refuses to be domesticated by it.

The paper examines the current provision for ethical review within the social sciences and considers how existent structures could be improved to protect human research subjects in accordance with international guidelines and regulation. This paper examines the current regulation of social science in the form of professional guidelines, peer review, funding application procedures and steering/advisory groups, and compares these processes with the independent ethical review currently required for health research. This paper also addresses the concepts of 'risk' and regulation by comparing the provision of review processes for health and non-health based research. The authors question the distinctions made between different types of medical research which represent epidemiological research, for example, as non-intrusive thus creating a hierarchy of research which results in social science researchers slipping through the ethical review net.