"The mediation of migration as a crisis has worked to shore up various forms of militarized surveillance, humanitarian response, legislative action, and affective investment. Bridging academic inquiry and artistic and activist practice, the essays, documents, and artworks gathered in Moving Images i
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nterrogate the mediation of migration and refugeeism in the contemporary European conjuncture, asking how images, discourses, and data are involved in shaping the visions and experience of migration in increasingly global contexts." (Publisher description)
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"The SAGE Handbook of Media and Migration offers a comprehensive overview of media and migration through new research, as well as a review of present scholarship in this expanding and promising field. It explores key interdisciplinary concepts and methodologies, and how these are challenged by new r
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ealities and the links between contemporary migration patterns and its use of mediated processes. Although primarily grounded in media and communication studies, the Handbook builds on research in the fields of sociology, anthropology, political science, urban studies, science and technology studies, human rights, development studies, and gender and sexuality studies, to bring to the forefront key theories, concepts and methodological approaches to the study of the movement of people. In seven parts, the Handbook dissects important areas of cross-disciplinary and generational discourse for graduate students, early career researcher, migration management practitioners, and academics in the fields of media and migration studies, international development, communication studies, and the wider social science discipline." (Publisher description)
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"Para contribuir a que las sociedades entiendan de una mejor manera los problemas a los que se enfrentan los migrantes y busquen en conjunto soluciones que mejoren la convivencia, nació Puentes de Comunicación. El proyecto está impulsado por el medio digital venezolano Efecto Cocuyo y la organiza
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ción alemana DW Akademie y ha sido posible gracias al apoyo financiero del Ministerio Federal de Asuntos Exteriores de Alemania. Una de sus primeras acciones fue el curso virtual “Cobertura periodística de la migración y el refugio venezolano”, dirigido a periodistas de Bolivia, Chile, Colombia, Ecuador y Perú. Durante tres meses, 62 profesionales se formaron en nuevas tendencias del periodismo de investigación y en el uso de herramientas digitales aplicadas a la cobertura de los procesos migratorios con una perspectiva de derechos humanos. La presente guía reúne los contenidos elaborados por los docentes de este curso a los que se suma un completo glosario de términos imprescindibles para poder contar los procesos migratorios con calidad y precisión." (Prólogo, página 7-8)
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"This Issue Paper examines nearly 1,500 news articles from four EU member states (Germany, Italy, Spain and the Czech Republic) published between May 2019 and July 2020. It shows that disinformation narratives about migration seek to exploit readers’ fears to polarise public opinion, manufacture d
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iscontent, sow divisions and set the political agenda. Disinformation actors link migration to existing insecurities, depicting it as a threat to three partly-overlapping areas: Health (migrants as violent criminals, potential terrorists, or a COVID-19 infection risk); Wealth (migrants as social benefits cheats, unfair competition for jobs, or a drain on community resources); Identity (migrants as a hostile invasion force, a threat to European or Christian traditions, or the subject of a conspiracy to replace white Europeans). An effective communication strategy based on alternative narratives should take account of the following recommendations: The message should aim to reframe the debate. It should resonate with the target audience’s lived experience, acknowledging their values and concerns, but avoid amplifying anxieties [...] The medium should aim to restore trust among groups. Institutions, which are often subject to discrediting campaigns, should prioritise communication through trusted intermediaries who can get messages to the hard-to-reach [...] The selection of the audience should aim to reclaim readers from the fringes. Audiences should be targeted based on their values and what they feel is important." (Executive summary)
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"This glossary serves as a guide for journalists, researchers, trainers and other stakeholders who conduct trainings or write about women’s labour migration, and who write about violence against women in the context of migration. It has been compiled as part of the EU-UN Spotlight Initiative to El
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iminate Violence Against Women and Girls. Language used in different communication materials and trainings puts forward specific positions and impressions, including at times perpetuating stereotypes. Thus, it is crucial to be clear about terms and definitions related to women migrant workers and violence against women, establishing a common ground from which to have conversations and work towards a world in which rights are respected for all and one in which women’s voice, choice and agency is recognised. This glossary presents rights-based terminology, which is based on international law and internationally agreed guidance wherever possible." (Introduction)
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"This book presents the main findings of an empirical exploration of media discourses on social representations of "otherness" in seven European countries. It focuses on the analysis of press discourses produced over a fifteen-year period (2000-2015) on three contemporary figures of otherness that c
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hallenge the identity of European societies, question the attitudes towards diversity, and pose significant challenges for policy-makers: immigration, Islam, and LGBT. The book provides a comprehensive and articulate map of how national media addresses such themes from both synchronic and diachronic perspectives, revealing patterns of continuity and discontinuity across time and space. Lastly, it discusses these patterns in the light of their cultural meanings and their influence on social and political collective behaviours." (Publisher description)
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"Our analysis shows that the mediated debates about migration in Western and Eastern Europe are more differentiated, and less stereotypical, as often assumed. Indeed, coverage in media outlets in Western Europe feature more positive aspects and speakers compared to the outlets in Central and Eastern
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Europe. However, even in Hungary and Poland – two countries marked by very problematic developments in media policy – the outlets involved in the study offer a complex picture. The migration-critical stance of outlets closely related to the government is contrasted by the complex coverage of independent outlets. The case of Magyar Hírlap may serve as an illustrative example how outlets close to the government – in this case the massive anti-migration campaign of Prime Minister Orbán – ignore professional norms. Indeed, Magyar Hírlap did not include a single migrant or refugee in the total of 301 articles it has published in the study period. The study identifies professional challenges for outlets in other countries. Similar to previous studies, this study shows that migrants and refugees are mostly covered as a large, anonymous group. Rarely are they identified as individuals, and rarely do they speak for themselves. But our study also shows that the majority of articles only vaguely at best indicate context and origin countries of migrants. Neither do they make a clear distinction between refugees with protected status and migrants. Certainly, this remains a challenge, given editorial constraints and incomplete information in everyday practice. However, journalists should strive to make use of the correct definitions especially in countries where governments deliberately use incorrect labels. Taking the very low share of background articles into account as well, media users across Europe may find it hard to come to their own informed conclusions on migrants and refugees." (Discussion, page 48)
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"Heranwachsende wünschen sich Medien, die verständlich berichten, Hintergründe und Lösungsmöglichkeiten aufzeigen. Wie das Konzept des konstruktiven Journalismus dabei hilft und wie es in der Journalismusausbildung eingesetzt werden kann, zeigt dieses Buch." (Verlagsbeschreibung)
"Exploring the ways in which language and conflict are intertwined and interrelated, this book examines the changes that have taken place in the public discourse of the Ukraine and Russia since 2014 and the beginning of the 'Ukrainian Crisis.' Through analysis of the narratives constructed by differ
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ent social groups in Ukraine, Language of Conflict shows how discourse can illuminate the competing worldviews and the conflicting positions of the various stakeholders in this conflict. Through critical discourse analysis and multimodality, this book explores the prevalent narratives and the linguistic features of the salient discourses surrounding this conflict. Using Russian- and Ukrainian-language texts from traditional and social media, contributors from Ukraine, Russia and beyond investigate discourses surrounding the most important topics of the crisis: its causes and goals, the sides, and the values and ideologies of the opposing parties. Highlighting the ways in which the stress produced by social discord, economic hardship and violence, is reflected in verbal aggression, slurs, insults and profane language of extraordinary linguistic creativity, Language of Conflict provides insight into the ways people think about, respond to and experience the reality of conflict in their everyday communication." (Publisher description)
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"The five-minute film Mouth of a Shark (Isobel Blomfield, 2018) conveys a young woman’s experiences and precarious situation while she awaits an outcome on her refugee status determination in Australia. Aasiya (pseudonym) lives in community detention. Her interest in creating the film stemmed from
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her own acknowledgement that she had a platform as a young, literate asylum seeker woman with a “strong” story, and was therefore in a position to portray asylum seekers in a positive light. However, she cannot be identified in the film, even though it depicts her story, due to concerns over safety and her claim for asylum. We use this example to illustrate issues of anonymity and representation, and suggest strategies in line with our commitment to avoid depersonalising tropes in filmmaking. While we are committed to ensuring that people from refugee and asylum seeker backgrounds exercise agency in filmmaking, protecting Aasiya’s identity had to prevail. We wanted to avoid depersonalising tropes, and instead devised filming strategies that were more respectful of the protagonist and, within the constraint of anonymity, ensured that Aasiya could still represent her story in meaningful ways. We argue for an ethical model that reconciles the need for both anonymity and representation in filmmaking, especially through collaborative editing." (Abstract)
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"Representing stories through documentary film can offer a means to convey multilayered and sensory accounts of the lived experiences of people in extreme transition, especially former refugees. However, along with the potential of this medium comes the responsibility to engage with participants in
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an ethical and reciprocal manner. This article examines these prerequisites and applies them to two films about the experiences of people from refugee backgrounds in Australia. The first film, The Last Refuge: Food Stories from Myanmar to Coffs Harbour (2015), explores the Myanmar community, their sociocultural relationship to food and how this informs their identity. The second film, 3Es to Freedom (2017), documents a supported employment program for women from refugee backgrounds. Despite having different purposes and target audiences, the two films reinforced the importance of establishing informed and negotiated consent with marginalised people as the basis of all interactions and representations on film. Such negotiation seeks to minimise power imbalances and forms the ethical starting point for reflexive filmmaking practice that considers the filmmakers’ and participants’ intentions, and that promotes a heightened awareness of how knowledge is created through image-making." (Abstract)
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"The article considers one dominant tendency of independent filmmaking, and its impact on the treatment of the refugee (broadly conceived): the application of contemporary documentary methods to both fiction and nonfiction works. The goal is a preliminary exploration of the complex, context-sensitiv
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e political effects of the approach, sometimes dubbed the “documentary style”, as resistance of (and/or submission to) the hegemonic global-nationalist order. To this end, the paper investigates specifically how such filmmaking efforts may—or may not—redirect the phenomenological vehicle of imagination away from narrow nationalist imaginaries towards a broader humanist identification and emotional (and normative) investment in the stranger or “the other” per se. The focus is on two works in particular, Another News Story (Orban Wallace, 2017) and Before Summer Ends (Avant la fin de l’été, Maryam Goormaghtigh, 2017), identifying how the filmmakers’ broadly pluralistic techniques help avoid the potentially dehumanising pitfalls of more didactic approaches, but also generate their own potential limitations. While the slackening of the subject’s categorical—and the plot’s narrative—shape may be liberating, it also risks a phenomenological disconnection on the part of the potentially interested spectator. The cognitive effects—including impediments to memory and recall—may thus weaken the work’s potential as a vehicle of cultural awareness and social identification." (Abstract)
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"Films about refugees have been embraced by accented cinema. Indeed, exilic filmmakers continue to test the boundaries of cinema, and specifically its strong bonds with nation and land. But not all exiles are refugees. This article offers that for Arab refugees the journeys across the sea define the
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ir filmmaking and thus also the refugee film. If we acknowledge the sea as a central theme, motif and stylistic element in (some) refugee cinema, spectators may be able to experience refugee cinema more ethically. Using the concept of “Mediterranean thinking” as a central analytical tool, this article focuses on the visual representations of refugees in films made on and in the Mediterranean Sea, problematising the injustices in the representation of refugees since the so-called “refugee crisis”. With a film-philosophical approach to four films from North Africa and Syria, I emphasise how filmmakers directly or indirectly address the senses of their spectators with a cinema that highlights the instability of knowledge and power through movement and fluidity. An in-depth analysis of the visual qualities of water places fluid space and time at the centre of these refugee films. In Mediterranean refugee filmmaking, water enables an embodied experience that leads to allegiance and sympathy, in order to achieve solidarity. This approach is based on a desire to contribute to a new historiography in the service of a more just world. Transnational journeys shape the representations of refugees travelling, transforming and transcending the Mediterranean. Ultimately, this article examines how the migrant and the sea itself develop with the “refugee crisis”, visualised in a cinema adrift on the Mediterranean Sea." (Abstract)
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