"Gender, Work and Space" explores how boundaries are constructed between women and men, and among women living in different neighborhoods. Focusing on work, the segregation of men and women into different occupations, and variations in women's work experiences in various parts of the city, the authors argue that these differences are grounded, are constituted in and through space, place and situated networks.
The authors use a case study of a contemporary city to establish that many women are dependent on extremely local employment opportunities, especially those women with heavy household responsibilities. Women's dependence on locally available jobs focuses attention on the existence of different employment districts throughout the city. The argument is that social, economic and geographic boundaries are overlaid and intertwined. This book contributes to debates about the geography of labor market segmentation, to our understanding of sex-based occupational segregation and, in the close attention given to the construction of social, geographic, economic and symbolic boundaries in ordinary lives, provides a counterbalance to the focus on mobility within contemporary feminist theory.

This book follows the travels of Nanay, a testimonial theatre play developed from research with migrant domestic workers in Canada, as it was recreated and restaged in different places around the globe. This work examines how Canadian migration policy is embedded across and within histories of colonialism in the Philippines and settler colonialism in Canada. Translations between scholarship and performance - and between Canada and the Philippines - became more uneasy as the play travelled internationally, raising pressing questions of how decolonial collaborations might take shape in practice. This book examines the strengths and limits of existing framings of Filipina migration and offers rich ideas of how care - the care of children and elderly and each other - might be rethought in radically new ways within less violently unequal relations that span different colonial histories and complex triangulations of racialised migrants, settlers and Indigenous peoples. This book is a journey towards a new way of doing and performing research and theory. It is part of a growing interdisciplinary exchange between the performing arts and social sciences and will appeal to researchers and students within human geography and performance studies, and those working on migration, colonialisms, documentary theatre and social reproduction.

"Gender, Work and Space" explores how boundaries are constructed between women and men, and among women living in different neighborhoods. Focusing on work, the segregation of men and women into different occupations, and variations in women's work experiences in various parts of the city, the authors argue that these differences are grounded, are constituted in and through space, place and situated networks.
The authors use a case study of a contemporary city to establish that many women are dependent on extremely local employment opportunities, especially those women with heavy household responsibilities. Women's dependence on locally available jobs focuses attention on the existence of different employment districts throughout the city. The argument is that social, economic and geographic boundaries are overlaid and intertwined. This book contributes to debates about the geography of labor market segmentation, to our understanding of sex-based occupational segregation and, in the close attention given to the construction of social, geographic, economic and symbolic boundaries in ordinary lives, provides a counterbalance to the focus on mobility within contemporary feminist theory.

This book follows the travels of Nanay, a testimonial theatre play developed from research with migrant domestic workers in Canada, as it was recreated and restaged in different places around the globe. This work examines how Canadian migration policy is embedded across and within histories of colonialism in the Philippines and settler colonialism in Canada. Translations between scholarship and performance - and between Canada and the Philippines - became more uneasy as the play travelled internationally, raising pressing questions of how decolonial collaborations might take shape in practice. This book examines the strengths and limits of existing framings of Filipina migration and offers rich ideas of how care - the care of children, the elderly and each other - might be rethought in radically new ways within less violently unequal relations that span different colonial histories and complex triangulations of racialised migrants, settlers and Indigenous peoples. This book is a journey towards a new way of doing and performing research and theory. It is part of a growing interdisciplinary exchange between the performing arts and social sciences and will appeal to researchers and students within human geography and performance studies, and those working on migration, colonialisms, documentary theatre and social reproduction.

How are the political possibilities of film related to urban space? What are the ethical implications of representing urban space on film? How does the use of urban space help to theorise film?
Film and Urban Space: Critical Possibilities traces recurring debates about what constitutes film's political potential and argues that the relation between film and urban space has been crucial to these debates and their historical transformations. The book demonstrates that in the attempt to follow certain prescriptions - shooting on location, disrupting normalizing time, experimenting with memory, interlinking the spaces of screen and cinema - films invariably use the relation between film and urban space as a kind of laboratory, testing anew received prescriptions but invariably encountering new opportunities and new limits. A wide range of key films, from Dziga Vertov's 1928 Man with a Movie Camera to Jia Zhangke's 2008 24 City, are discussed in depth, each offering an argument for how the encounter between specific manifestations of modern urban space and politically engaged film strategies has served to challenge the status quo and stimulate critical thinking.

By placing the global and the intimate in near relation, sixteen essays by prominent feminist scholars and authors forge a distinctively feminist approach to questions of transnational relations, economic development, and intercultural exchange. This pairing enables personal modes of writing and engagement with globalization debates and forges a definition of justice keyed to the specificity of time, place, and feeling. Writing from multiple disciplinary and geographical perspectives, the contributors participate in a long-standing feminist tradition of upending spatial hierarchies and making theory out of the practices of everyday life.

In a developing nation like the Philippines, many mothers provide for their families by traveling to a foreign country to care for someone else's. Families Apart focuses on Filipino overseas workers in Canada to reveal what such arrangements mean for families on both sides of the global divide. The outcome of Geraldine Pratt's collaboration with the Philippine Women Centre of British Columbia, this study documents the difficulties of family separation and the problems that children have when they reunite with their mothers in Vancouver. Aimed at those who have lived this experience, those who directly benefit from it, and those who simply stand by and watch, Families Apart shows how Filipino migrant domestic workers-often mothers themselves-are caught between competing neoliberal policies of sending and receiving countries and how, rather than paying rich returns, their ambitions as migrants often result in social and economic exclusion for themselves and for their children. This argument takes shape as an open-ended series of encounters, moving between a singular academic voice and the "we" of various research collaborations, between Vancouver and the Philippines, and between genres of "evidence-based" social scientific research, personal testimony, theatrical performance, and nonfictional narrative writing. Through these experiments with different modes of storytelling, Pratt seeks to transform frameworks of perception, to create and collect sympathetic witnesses-in short, to promote a wide-ranging public discussion and debate about a massive worldwide shift in family (and nonfamily) relations of intimacy and care.

In a developing nation like the Philippines, many mothers provide for their families by traveling to a foreign country to care for someone else's. Families Apart focuses on Filipino overseas workers in Canada to reveal what such arrangements mean for families on both sides of the global divide. The outcome of Geraldine Pratt's collaboration with the Philippine Women Centre of British Columbia, this study documents the difficulties of family separation and the problems that children have when they reunite with their mothers in Vancouver. Aimed at those who have lived this experience, those who directly benefit from it, and those who simply stand by and watch, Families Apart shows how Filipino migrant domestic workers-often mothers themselves-are caught between competing neoliberal policies of sending and receiving countries and how, rather than paying rich returns, their ambitions as migrants often result in social and economic exclusion for themselves and for their children. This argument takes shape as an open-ended series of encounters, moving between a singular academic voice and the "we" of various research collaborations, between Vancouver and the Philippines, and between genres of "evidence-based" social scientific research, personal testimony, theatrical performance, and nonfictional narrative writing. Through these experiments with different modes of storytelling, Pratt seeks to transform frameworks of perception, to create and collect sympathetic witnesses-in short, to promote a wide-ranging public discussion and debate about a massive worldwide shift in family (and nonfamily) relations of intimacy and care.

By placing the global and the intimate in near relation, sixteen essays by prominent feminist scholars and authors forge a distinctively feminist approach to questions of transnational relations, economic development, and intercultural exchange. This pairing enables personal modes of writing and engagement with globalization debates and forges a definition of justice keyed to the specificity of time, place, and feeling. Writing from multiple disciplinary and geographical perspectives, the contributors participate in a long-standing feminist tradition of upending spatial hierarchies and making theory out of the practices of everyday life.

Working Feminism looks at key concepts and debates within feminist theory and puts them to work concretely in relation to the real problems faced by Filipina domestic workers and Asian youth in Canada. It draws to the fore the metaphorical and concrete geographies that lie implicit and underdeveloped within much feminist theory and suggests that a geographical imagination offers a means of reframing debates beyond polarised theoretical and political positions. Alternating between theoretical and empirical chapters, substantial and wide-ranging discussions of human rights, multiculturalism, transnationalism and feminist politics are brought to earth and -- by putting them into the context of individual predicaments -- to life. The empirical chapters build from a decade-long collaboration with an activist group -- the Philippine Women Centre -- in Vancouver, Canada. They demonstrate the fruits of a close and innovative engagement between poststructuralist feminist theory and participatory action research. The book demonstrates the immediate practicality of abstract debate, and works away at divisions between culturalist and materialist, theoretical and practical feminisms.

How are the political possibilities of film related to urban space? What are the ethical implications of representing urban space on film? How does the use of urban space help to theorise film?
Film and Urban Space: Critical Possibilities traces recurring debates about what constitutes film's political potential and argues that the relation between film and urban space has been crucial to these debates and their historical transformations. The book demonstrates that in the attempt to follow certain prescriptions - shooting on location, disrupting normalizing time, experimenting with memory, interlinking the spaces of screen and cinema - films invariably use the relation between film and urban space as a kind of laboratory, testing anew received prescriptions but invariably encountering new opportunities and new limits. A wide range of key films, from Dziga Vertov's 1928 Man with a Movie Camera to Jia Zhangke's 2008 24 City, are discussed in depth, each offering an argument for how the encounter between specific manifestations of modern urban space and politically engaged film strategies has served to challenge the status quo and stimulate critical thinking.