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Corporatization of Higher Education has introduced new performance measurements as well as an acceleration of academic tasks creating working environments characterised by speed, pressure and stress. This paper discusses findings from a qualitative, feminist participatory action research (PAR) study undertaken by an interdisciplinary team of women academics at a modern, corporate university in England. The study illuminates how corporatized HE erodes faculty autonomy, degrades learning environments, damages professional satisfaction and health. Strategies for resistance and liberation developed through the PAR process are discussed.Key words: slow professor, corporatized academy, Higher Education.

In this article, co-authored by two undergraduate students (one international) and two academics in a media faculty of a post-92 university (e.g., Polytechnic), in England, we share the findings and offer a reflexive lens on the process of a media practice education collaboration in the community, through the co-production of the animated film Hunger by the Sea: https://vimeo.com/234840520 . The contributors to this research are media practice academics, media and journalism students from related but distinct disciplines, and the users and providers of a food bank on the English coast. The food bank users and providers have not been involved in this writing, but their voices are (literally) heard in the project’s primary outcome—the animated film. In this article, we articulate reflections on how the project, in bringing together academics, students, and community participants in a challenging but rich space, enabled exchanges of expertise and new, boundary-crossing ways of being in education that can be discussed as “third space” interactions.

The Anthropologist clearly signposts in the opening sequence what it is about, as we watch Margaret Mead's daughter Mary watching archive footage of herself with her mother; the film begins as a tale of two anthropologists' daughters, and their relationships with their mothers. Mead's daughter, Mary, remembering her mother is intercut effectively with archive footage of them both, woven throughout the film to neatly frame anthropologist Susie Crate's relationship with her teenage daughter, Katie. The latter relationship forms the bulk of the film as we follow the two of them across continents while Crate, an academic at George Mason, conducts anthropological research. Crate's daughter, Katie, is the result of Crate 'going native,' as she describes it, in Siberia. An intriguing and very human, though controversial, practice which is unfortunately just skimmed over within the film. Crate is now estranged from Katie's father and there does seem to be, judging by the expressions on Katie's face at one point, some residual resentment over her parent's relationship. But this tension is left unexamined by the filmmakers, and is surely a missed opportunity for deeper insights into their relationship. Katie talks about her identity and trying to fit into what looks like a predominantly white American neighbourhood where she lives with her mother. The film is shot over four years so we first see Katie at 14 and in the last shot she is 18, so this longitudinal filming does provide the opportunity to explore the changing relationship between mother and daughter.