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Caroline Humphrey

Dominant approaches to fear in the social sciences and humanities tend to consider fear as a negative and disempowering emotion. Such analyses conceptualise fear as an indistinct mass phenomenon, a characteristic of an abstraction, such as ‘risk society’ or ‘culture of fear’ or ‘dictatorial power’. By contrast, this paper examines the structure of the experience and management of fear by individual subjects, and relates this to questions of morality and self‐reflection. Using the cases of omens and horror movies, it is shown how fear is evoked and ‘managed’ within assemblages, which might include other people, frightening objects, ghosts, animals, diseases, technologies, or monsters. One is conscious of one's own fear and hence fear itself can become another ‘thing’, a property, which somehow must be dealt with. The theoretical proposition here is that fear need not be conceptualised as all‐embracing. An emotion such as fear is ‘mine’ / ‘ours’ and contained within an identity; and yet, being a relation, it puts into question the connection between this passing element of what we think of as ‘self’ with the world outside. Such an approach opens the possibility of examining the management of fear, its coming and going over time, the evaluations that are made of it (as noble, despicable, justified, irrational, etc.), and the entitlements it provides in society. In particular, it raises the question of attitudes towards other humans as objects of fear, and the circumstances in which they are repudiated or, to the contrary, embraced.

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Imagining globalised fears

School shooting videos and circulation of violence on YouTube

Johanna Sumiala and Minttu Tikka

In recent years there has been a revival of interest in the concept of circulation in the field of anthropology. This article aims at elaborating the idea of circulation, namely, in the context of media anthropology. We illuminate the workings of circulation by illustrating how violent media images travel on YouTube and how video clips contribute to the formation and reformation of globalised social imaginaries of violence. Special attention is given to the circulations of school shooting videos on YouTube. Through fieldwork on YouTube videos associated with the Columbine, Virginia Tech, Jokela and Kauhajoki massacres, the article draws on George Bataille's ideas on symbolic violence to claim that the school shootings as visual media spectacles of violence, death and terror can be seen as paradigmatic examples of deadly events that have a potential to stimulate social imaginaries of horror and anxiety through the cultural logic of circulation in the era of globalisation.

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Yassaba’ or the Fear of Being Abandoned

Health Promotion Messages and Local Meanings in Guinea

Maria Cristina Manca

and gathering information through health promoters who were based in their own villages. In addition, we worked directly with the local population by holding small group sessions in which we discussed their fears and concerns about Ebola. Many of these

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Journeys and landscapes of forced migration

Memorializing fear among refugees and internally displaced Colombians

Pilar Riaño‐Alcalá

In Colombia, a country with a long‐standing multipolar armed conflict, the performance of violence in the form of massacres, selective assassinations, threats, disappearances, rape and forced displacement has turned fear into a powerful language by which the various armed actors communicate with society, reconfigure the landscape and regulate everyday life. Understanding forced migration as a form of displacement under coercion and fear, this article examines forms and notions of memorialized fear that are inscribed in the narratives of displacement and exile of a group of internally displaced persons (IDPs) in Colombia and Colombian refugees in Canada. The article explores the relationships between memory, fear, and forced migration as a means to advance an anthropological analysis of the ways people reconstruct their lives in the midst of displacement and change. I suggest that a continuum of fear marks the journeys of displacement and exile of Colombian forced migrants. Fear is expressed as embodied memory and narrative thread to remember the past, the journey of forced migration, the interactions with the forced migration regime and the arrival and experiences in another host society. In the context of change and the liminal situations of IDPs and refugees, I consider the weight of emotions such as fear in shaping experience and remembrance so as to offer a critical starting point in reconsidering approaches towards, and conceptualizations of, identity, re‐establishment of rights and incorporation into new social landscapes.

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Filippo Contesi

fear and disgust. In his chapter on “Horror” in the Routledge Companion to Philosophy and Film , for instance, Aaron Smuts (2009, 505 ) presupposes, without ever questioning it, the view that horror fictions warrant fear and disgust. Or, to mention

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Video Surveillance in Portugal

Political Rhetoric at the Center of a Technological Project

Catarina Frois

This article gives a detailed account of the political processes and stages involved in the implementation of video surveillance devices in two major Portuguese cities, Oporto and Lisbon. It seeks to draw two main conclusions regarding the introduction of these systems in public areas and the developments that they have undergone over the period under analysis. The first is that installing these devices reflects a political response designed to provide a hasty solution to a social phenomenon—fear—that is largely subjective. The second is that the generalized perception as to the uncertainty of the effectiveness of these systems explains the lack of consistency and coordination in their implementation. The article concludes by discussing fear and insecurity in the context of concerns for a more efficient justice system.

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Ordinary Violence, Emotion, Information, and Anxiety

Some Themes in Recent Work on Colonial Violence

William Palmer

The study of violence has emerged as an important analytical category for historical analysis, especially in the areas where Europeans attempted to establish either dominance or colonies, such as Ireland, North America, Asia, and the Middle East. This article surveys some recent work on colonial violence, in which historians have tried to distinguish between different types of violence and have pointed to the importance of intelligence gathering, fear, and emotion as analytical tools for understanding the nature of colonial violence.

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Lalita Pandit

This article examines how three classic Hindi films—Pyasaa, The Guide, and Jagate Raho—draw on Indic paradigms of devotional love and śānta rasa and how they use “wonder” as a resolution to distressing emotions experienced by the characters and elicited in the viewer. To this effect, the article emphasizes how socio-cultural models of appraisal elicit various kinds of emotion, and, from this culturally situated but broadly universalist perspective, it traces the journey of the protagonists from fear, dejection, and despair toward amazement and peace. Among contemporary cognitive theories of emotion, the article uses perspectives drawn from the appraisal theory.

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How Many Emotions Does Film Studies Need?

A Phenomenological Proposal

Julian Hanich

focus on just a few standard or garden-variety emotions films can evoke in viewers, emotions like fear, sadness, disgust, or anger (see, for instance, Grodal 2017 ). Beyond this narrow spectrum we can surely discover a wide field of emotions that have

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Living in a Culture of Fear (2005)

A Muslim Perspective

Sarah Joseph

For those who are not familiar with the Harry Potter series I apologize; however, I think that a very fine point about fear was made in the third book of the series, The Prisoner of Azkhaban. Harry is about to come up against a Boggart – a creature which has no shape of its own, it is a shape shifter. It takes on the shape of what you fear the most. Harry’s teacher, Professor Lupin, does not allow Harry to confront the Boggart and Harry is upset about this, concerned that Professor Lupin had thought him inadequate in the face of the challenge. However, Lupin assures Harry that he had just been concerned that Lord Voldemort – the Dark Lord – would appear in the classroom. Harry, however, says no – he was not afraid of Lord Voldemort, rather he was afraid of the Dementors, who drain away all happiness from living things. ‘Ah,’ says Lupin, ‘it seems that the thing you fear, is fear itself. Very wise Harry!’ Indeed, very wise Harry. Fear is a crippling emotion.