" ... To test the argument whether the killing of journalists is a precursor to increasing repression, we introduce a new global dataset on killings of journalists between 2002 and 2013 that uses three different sources that track such events across the world. The new data show that mostly local jou...rnalists are targeted and that in most cases the perpetrators remain unconfirmed. Particularly in countries with limited repression, human rights conditions are likely to deteriorate in the two years following the killing of a journalist. When journalists are killed, human rights conditions are unlikely to improve where standard models of human rights would expect an improvement. Our research underlines the importance of taking the treatment of journalists seriously, not only because failure to do so endangers their lives and limits our understanding of events on the ground, but also because their physical safety is an important precursor of more repression in the future." (Abstract)
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"Seit März 2007 organisieren lokale und internationale Aktivist*innen in verschiedenen Teilen Afghanistans beinah täglich Aktivitäten mit den unterschiedlichen Techniken des Theaters der Unterdrückten (TdU) des Brasilianers Augusto Boal (1931-2009) sowie anderen emanzipatorischen Theatermethoden.... In diesen rund zehn Jahren kontinuierlicher Anwendung hat sich das sogenannte „Applied Theatre“ als zentral für die systematische Arbeit mit dem Thema Straflosigkeit bzw. Aufarbeitung von mittlerweile knapp 40 Jahren des ununterbrochenen gewalttätigen Konflikts erwiesen. Hauptzielgruppe der verschiedenen Theateraktivitäten sind die direkten Angehörigen der nach Schätzungen etwa drei Millionen Menschen, die in den unterschiedlichen Konfliktperioden ums Leben gekommen sind. Einige wenige waren bereits zuvor in offiziell registrierten Opfer- oder Witwenverbänden organisiert, während die meisten mit ihrer Trauer allein blieben und isoliert um das bloße Überleben kämpften." (S.52)
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"The end of the twentieth century and the turn of the new millennium witnessed an unprecedented flood of traumatic narratives and testimonies of suffering in literature and the arts. Graphic novels, free at last from long decades of stern censorship, helped explore these topics by developing a new s...ubgenre: the trauma graphic novel. This book seeks to analyze this trend through the consideration of five influential graphic novels in English. Works by Paul Hornschemeier, Joe Sacco, Art Spiegelman, and Alan Moore and Dave Gibbons will be considered as illustrative examples of the representation of individual, collective, and political traumas." (Publisher)
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"WE CAN! is the latest addition to our toolbox against hate. The most damaging examples of hate speech are often grounded in simple stories, which are repeated over and over again in different forms. The migrants “taking our jobs” narrative, for example. Or the consistent claim, made by radicals..., that Islam is “under attack”. Such narratives often remain unchallenged, either because they have become commonplace, or because they are delivered in sophisticated ways. This manual will therefore help young people and educators confront, dismantle and replace hateful narratives. There are no short-cuts: the reader will not find in these pages a single statement, slogan, meme or caricature to counter all hate speech. You will, however, be guided in identifying the dangerous story-telling that chips away at our communities. Even more importantly, you will find tried and tested methods to propose powerful alternatives. Not simply telling different stories, but building and deploying more truthful accounts of the world around us which encourage others to challenge prejudice and think critically, and which deepen our knowledge and understanding of one and other." (preface)
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"Combining perspectives from media studies and political ecology, this book analyses socially constructed news regarding three environmental conflicts in South America. In recent decades, South American political administrations have tied national economies to neo-extractive development strategies, ...creating not only vulnerabilities to global commodity boom and bust pricing cycles, but also to conflict regarding environmental and cultural degradation from extraction activities. Environmental contestations among indigenous peoples, environmental and social NGOs, state actors, and extraction industries receive media attention, but how these disputes are covered has implications for understandings of media performance in democratizing nations. The authors examine three case studies of environmental contestation in a region that is simultaneously vulnerable to the effects of climate change, and yet has become once again dependent on commodity exportation to industrializing and industrialized nations for economic benefit and social development strategies." (Publisher)
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"This MeCoDEM working paper presents an overview of the main findings from a quantitative content analysis covering different types of democratisation conflicts (i.e., conflicts over citizenship, elections, transitional justice and distribution of power) in four countries: Egypt, Kenya, Serbia and S...outh Africa. The sample involves 5162 newspaper articles and news stories in the four countries selected on the basis of two main criteria: the degree of independence of media outlets from government and political parties, and their relevance. The key findings from the content analysis are organised around several themes: causes of democratisation conflicts, portrayal of conflict parties, preferred solutions to conflicts, perceptions of democracy, role of the media, authoritarian past, and tone of reporting and polarisation. Although this paper focuses principally on description, we also speculate about the main factors that shape similarities and differences in media coverage of democratisation conflicts. The main finding from the content analysis is that cross-national variations that we found in media reporting of democratisation conflicts appear to depend on several factors." (Executive summary)
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"This publication is the outcome of the “East Africa Regional Peace Journalism Training Workshop” for journalists covering conflict and peacebuilding in East Africa. Organized by Rongo University’s Center for Media, Democracy, Peace, and Security (CMDPS) in partnership with the African Peacebu...ilding Network (APN) of the Social Science Research Council (SSRC), the two-day event brought together journalists from five East African countries—Kenya, Rwanda, South Sudan, Tanzania, and Uganda—to develop their capacity for reporting on conflict-related issues in an objective manner based on the tenets of the theory and practice of peace journalism." (Introduction)
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"This book explores the complex organisational issues surrounding the capture or kidnapping of journalists in areas of conflict and risk. It explores how journalists 'becoming news' is covered and the implications of that coverage, how news organisations prepare for and respond to such events, and h...ow kidnapping and ransom insurers, victim recovery firms, journalists' families, and governments influence the actions of news enterprises. It considers how and why journalists are kidnapped, how employers and journalists' organisations respond to kidnappings and why freelancers are particularly at risk as well as suggesting best practices for preventing and responding to kidnappings." (Back cover)
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"Since the end of genocide in 1987 Zimbabwe has remained a zone of ‘conflicts’, and the enduring debates surrounding this genocide, especially in public-owned but state-Controlled media, call for critical attention. Three years after independence, in 1980, Zimbabwe was plunged into a genocide na...med ‘Gukurahundi’ (meaning the rain that washes the chaff away after harvest) that lasted until 1987. This article argues that there has been a clash of ‘interests’ playing out in the mediation of this yet-to-be-officially addressed genocide. Through evidence from public-owned media, the media that carry the official voice of the ruling party, I argue that public media have seen genocide from conflicting and complex angles, making it difficult to reach a consensus suitable for national building based on genocide truths, meanings and effects to Zimbabweans. I specifically use the Unity Accord-associated holiday, the Unity Day, and its associated debates to pursue two arguments. First, public media have played an ambiguous role in appreciating the conflictual and multipronged nature of the genocide within ZANU-PF. Second, public media have largely been supportive of, and even complicit in, official silences on genocide debates and memory. The article uses public sphere and narrative analysis as frameworks for understanding the operations of public media journalism in the mediation of genocide nearly 30 years after its occurrence." (Abstract)
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"The crisis in Ukraine has accentuated the position of Russian television as the government’s strongest asset in its information warfare. The internet, however, allows other players to challenge the Kremlin’s narrative by providing counter-narratives and debunking distorted information and fake ...images. Accounting for the new media ecology—through which strategic narratives are created and interpreted, this article scrutinizes the narratives of allegedly fake news on Channel One, perceiving the fabricated stories as extreme projections of Russia’s strategic narratives, and the attempts of the Ukrainian fact-checking website Stopfake.org to counter the Russian narrative by refuting misinformation and exposing misleading images about Ukraine. Secondly, it analyses how Twitter users judged the veracity of these news stories and contributed to the perpetuation of strategic narratives." (Abstract)
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"During political system change and for coming to terms with conflicts, media are the most important mediators. They should help with making the past more transparent, in order to support the transition to democracy. Experts of the Konrad Adenauer Foundation and the international “Article 10 ECHR ...Task Force” met in Tirana in October 2015 and made the following ten recommendations." (p.1)
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"The enormous collection of user-generated content (UGC) in the form of YouTube videos from the Syrian war provides an unprecedented and diverse collection of shared digital memories of conflict and violence. The central question of this article asks what the value is of UGC on YouTube for legal evi...dence of war crimes and future Transitional Justice. It is beyond doubt that the surge of uploaded videos from the Syrian uprisings revolutionized the way in which contemporary wars are observed and documented. The sheer amount of user-generated content online has given rise to manifold ways of interpreting what is happening on the ground, inspired creative resistance, led to a surge of professional and independent Syrian documentary films and increased the connectivity between those who undergo the war inside the conflict zone and those who are observing the situation from a safe distance. Many YouTube clips from Syria are likely to be rejected as stand-alone legal evidence though, as it often lacks sourced information about meta-data, date, time, geographical coordinates, identity of the participants, the identity of the perpetrator, and other contextual information crucial to establishing judicial facts for war crimes prosecution. The everexpanding body of videos from Syria will give rise to a wide and varied landscape of interactive media that has surpassed the old approach of political mainstream media to inform and possibly manipulate their audiences for their own agendas, whatever those may be. As a platform of digital memory and space to express moral outrage, YouTube served a crucial and important role in the Syrian crisis and the UGC is of immense value for digital memorialisation and historicization of the Syrian crisis. The vast amount of UGC on YouTube was categorized in 8 different types of footage and we can conclude that only small number of videoclips on YouTube can in fact function as crime-based evidence for war crimes. This does not mean that the UGC on YouTube has no value, however as a legal evidence it can be problematic to use YouTube videos if not corroborated and verified properly. The main issue is the lack of meta-data in many of the UGC on YouTube. The YouTube video revolution in Syria did bring to the surface many brave video activists who are now professionally involved in producing high quality footage for international news broadcasters, the most recent example of that is the important work of Waad al Kataeb inside eastern Aleppo with the British Broadcaster Channel Four News (Channel 4 2016). Through a series of edited 5-6 minute mini stories from the ground, Al Kataeb’s work provides a credible and important source of evidence." (Conclusion, p.22-23)
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"Die Fallanalyse hat gezeigt, dass eine Erzählung vom Krieg 1992-93 propagiert wird, die einer abchasischen Version des Narrationsschemas 'Die Vertreibung von fremden Feinden' entspricht. Ein zentrales Element der Erzählung ist zudem, so ergab die Interpretation, eine betont positive Darstellung d...es Kriegsalltags. Durch sie wird einerseits das bereits existierende Bild der heldenhaften Soldaten gestützt. Andererseits wird der Nachkriegsgeneration 20 Jahre nach Kriegsende eine gewissermaßen harmlose Version des Kriegsgeschehens angeboten, mittels Film und Konzerten werden begleitend affektive Erlebnisse ermöglicht. So soll die Identifikation der Nachgeborenen mit diesem Teil des abchasischen Gründungsmythos, den sie selbst nicht erlebt haben, angeregt werden." (S. 37)
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"This book has presented a critical, historically grounded analysis of the role of the war correspondent. It has highlighted the risks, the problems and the failures that have defined the role but it has also given credit where that is due and acknowledged the inspirational example of correspondents... such as William Howard Russell, Morgan Philips Price, Martha Gellhorn, Wilfred Burchett, John Pilger and Robert Fisk. Their work seems to bear testament to the ideal beloved of all journalists and writers, of ‘telling truth to power’. But as Arundhati Roy has argued, ‘Power owns the truth [and] knows the truth just as well if not better than the powerless know the truth’ (2004, p. 68). In view of everything that has gone before in this book, I think she is right. Telling truth to power does not change or lessen the risks and dangers that accompany the journalist in the war zone. And as we have seen, the risks are not equal; the level of special training, protection and institutional support journalists receive depends on the size and wealth of their media employer." (Conclusion, p.214)
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"In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by d...iverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first 'Maus' story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of 'atomic bomb manga,' the comic book Ore Wa Mita (I Saw It), a title that alludes to Goya's famous Disasters of War etchings. Chute explains how the form of comics - its collection of frames - lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness." (Publisher)
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"As it seeks to win the hearts and minds of citizens in the Muslim world, the United States has poured millions of dollars into local television and radio programming, hoping to generate pro-American currents on Middle Eastern airwaves. However, as this fascinating new book shows, the Middle Eastern... media producers who rely on these funds are hardly puppets on an American string, but instead contribute their own political and creative agendas while working within U.S. restrictions. The Other Air Force gives readers a unique inside look at television and radio production in Afghanistan and the Palestinian territories, from the isolated villages of the Afghan Panjshir Valley to the congested streets of Ramallah. Communications scholar Matt Sienkiewicz explores how the U.S. takes a “soft-psy” approach to its media efforts combining “soft” methods of encouraging entertainment programming, such as adaptations of The Voice and The Apprentice with more militaristic “psy-ops” approaches to information control. Drawing from years of field research and interviews with everyone from millionaire executives to underpaid but ever resourceful cameramen, Sienkiewicz considers the perspectives of the Afghan and Palestinian media workers trying to forge viable broadcasting businesses without straying outside American-set boundaries for acceptable content." (Publisher)
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"The goal of the Field Guide is to provide methods for filmers to use so that their videos can be as valuable as possible in exposing abuse and bringing about justice. This resource will help ensure that more cameras in more hands can lead to more exposure and greater justice. Activists producing fo...otage that they hope will be used not only by journalists but also by investigators and court rooms must consider these fundamental questions: Is it clear where and when the video was filmed? Can this video be verified? Has it been tampered with or edited? Is the footage relevant to a human rights crime? Can the video’s chain of custody be proved? Would its helpfulness in securing justice outweigh its potential to undermine justice? These are some of the issues we explore throughout the guide while providing practical guidance on addressing them." (p.5)
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"This collection of essays and interviews offers perspectives on traumatic experience from the social and public side of the equation. Like other books in the Palgrave Macmillan Memory Studies Series, it is concerned with redressing the balance of public memory through a focus on what has been negle...cted or excluded, but traumatic memory poses special problems in this regard. Andrew Hoskins and John Sutton, the series editors, suggest that the question of how we remember has become central to historical enquiry, but the question itself is fraught with complexity. Generational change and new technologies of memory are reshaping the ways in which memory works, and the influence of trauma narratives is a factor in this. They pose another question: ‘What is “memory” under such conditions?’ Here, we focus on the distance between traumatic narratives in the public domain, and the experience of traumatic recall in the mind of a person who has been directly affected by extreme events." (Introduction, p.1)
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"The study uses online observation and critical discourse analysis (CDA) to examine how ‘Ndebeles’ [= Ndebele-speaking people of Zimbabwe] discuss the 1980s genocide and how citizen journalism has generally revolutionised their participation in debates silenced by the ruling elite. What strongly... comes out from the discussants’ interactions is that the genocide, which has not been addressed since it ‘ended’ with the signing of the Unity Accord in 1987, remains contentious as victims have not found closure. The study concludes that Web 2.0 has reconfigured subaltern communities’ engagements with the traumatic genocide." (Abstract)
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