Emma Audrey Adams, Desmond Hunter, Joanne Kennedy, Tony Jablonski, Jeff Parker, Fiona Tasker, Emily Widnall, Amy Jane O'Donnell, Eileen Kaner and Sheena E. Ramsay
This study aims to explore the experiences of living through the COVID-19 pandemic for people who faced homelessness and dealt with mental health and/or substance use challenges.
Abstract
Purpose
This study aims to explore the experiences of living through the COVID-19 pandemic for people who faced homelessness and dealt with mental health and/or substance use challenges.
Design/methodology/approach
This qualitative study was comprised of 26 1:1 interviews (16 men and 10 women), conducted between February and May 2021 with people who experienced homelessness in North East England during the COVID-19 pandemic. An inductive reflexive thematic analysis was undertaken, with input from individuals with lived experience who were involved throughout the study.
Findings
Four themes were developed. The first theme, lack of support and exacerbation of mental health and substance use difficulties, highlighted how the lack of in-person support and increased isolation and loneliness led to relapses or new challenges for many people’s mental health and substance use. The second theme, uncertainty and fear during the pandemic, explored how the “surreal” experience of the pandemic led to many people feeling uncertain about the future and when things would return to normal. The third theme, isolation and impacts on social networks, discussed how isolation and changes to relationships also played a role in mental health and substance use. Finally, opportunity for reflection and self-improvement for mental health and substance use, explored how some people used the isolated time to re-evaluate their recovery journey and focus on self-improvement.
Practical implications
The experiences shared within this study have important implications for planning the future delivery and commissioning of health and social care services for people facing homelessness, such as sharing information accessibly through clear, consistent and simple language.
Originality/value
As one of the few papers to involve people with lived experience as part of the research, the findings reflect the unique narratives of this population with a focus on improving services.
Details
Keywords
Killing Eve (BBC 2018–2022) has been hailed as a feminist television show. Its cinematic production values call upon a history of espionage on screen, encompassing international…
Abstract
Killing Eve (BBC 2018–2022) has been hailed as a feminist television show. Its cinematic production values call upon a history of espionage on screen, encompassing international intrigue and glamorised hyperviolent action sequences. Is this violent aesthetic a cathartic reference to newly visible feminist discourse or are we just being sold a new version of old fantasies?
In this chapter Killing Eve is examined in relation to a history of violent women spies on screen, from Emma Peel (The Avengers 1961–1969) to Sydney Bristow (Alias 2001–2006). While Villanelle (Jody Comer) appears to present an amoral account of postfeminist ‘empowerment’, Eve (Sandra Oh) carries echoes of second-wave feminist concerns with community, morality and ethics. With each season the differences between Villanelle and Eve unravel, raising questions about what constitutes ‘quality’ television and how that might intersect with old-fashioned ideas about women's liberation. While the show depicts each character as ‘liberated’ in some respects, they are both entangled in corporate nets which repeatedly put them in danger and pull them back into violence as a form of labour.
Details
Keywords
While the entrepreneurship and small business research literature has tended to portray women as lesser than men in identifying the differences between them, little research has…
Abstract
Purpose
While the entrepreneurship and small business research literature has tended to portray women as lesser than men in identifying the differences between them, little research has looked at how gender is construed in business ownership. The purpose of this paper is to provide a new focus, examining how male and female business owners construe each other.
Design/methodology/approach
The research employs George Kelly's personal construct theory and repertory grids to examine the constructs associated with male and female business owners.
Findings
It is found that there are many constructs used to describe business owners and, counter to predictions from some of the literature review, few differences between the way in which male and female business owners are construed. The paper offers explanations as to why so few differences are found.
Research limitations/implications
The sample is limited to just one area of Britain and the businesses had all been established in the last three years. This will influence the generalizability of the findings.
Originality/value
This paper is able to offer research evidence to demonstrate that male and female business owners do not construe male and female business owners differently.
Details
Keywords
Andrew Davidson and Peter H. Reid
The aim of the research was to create a site which could host an archive of moving image associated with the town of Fraserburgh in Scotland, but could also include other digital…
Abstract
Purpose
The aim of the research was to create a site which could host an archive of moving image associated with the town of Fraserburgh in Scotland, but could also include other digital artefacts to support and enhance the narratives contained within the films. Elements of digital storytelling were utilised, and a purposely designed section, “behind the film”, was included within the site which saw stories presented and supported with the use of archive newspaper clippings, photography and a series of reflective audio clips recorded for the research.
Design/methodology/approach
“Fraserburgh on Film” is an online platform created for the purpose of collating digital heritage film from the communities situated in the corner of North East Scotland. The research adopted an ethnographic approach working within the community, with James Taylor and other contributors to collect and curate moving images associated with the town. Archival research then supplemented these films. A digital platform was then constructed, tested and launched as the archival repository for the materials collected.
Findings
The research highlights the importance of having a close association with the community in question and provides details about the creation of the platform and framing it in the context of a vehicle for digital storytelling and participatory heritage. The article demonstrates how archive film should be gathered, edited and remastered for long-term preservation and access. Practical aspects such as video hosting, searchability, metadata are explored as are subsequent methods of dissemination and engagement.
Practical implications
The research highlights a number of practical decisions which must be made when considering similar projects. These include gaining access to the moving images in the first place but also significant infrastructural issues around the creation, organisation and dissemination of an online digital repository. These lessons are transferable to other small community-based cultural and heritage organisations.
Social implications
The archive has been very positively received in the community as an important repository for preserving community heritage and identity. High levels of public engagement have been demonstrated since its launch, which has led to new material being discovered. The archive has a wider cultural legacy across the North East of Scotland because of both the nature of the films and the widespread use of the Doric dialect.
Originality/value
The originality lies in the distinctive amount of moving image (and oral history) collected by local historian, James Taylor and his willingness to allow his materials to be edited and repurposed to ensure their long-term survival. The lessons learnt in this project are transferable to other locations in terms of both collecting material, the creation of the hosting platform and in crowdsourcing background information. The crucial importance of working with community partners in digital heritage work is reinforced. The research affords practical illustrations of steps to be taken and factors to be considered. It demonstrates how a well-crafted digital heritage product can genuinely engage with the community.