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of information about development in Canadian schools during that period offer the historian a significant opportunity to study practical and ideological traditions of visual communications for pedagogical purposes among humanitarian agencies. The focus of historical inquiries of visual media is often on the content produced and the intended audience, with limited examination of those responsible for the logistics and pedagogical dimensions of the distribution of the materials. This article discusses the following aspects of the practices of CIDA: the purpose of
testimonial function of the films in humanitarian publications and promotional material and discusses the idea that ‘seeing is believing’. Following on that, the link between visual evidence and affects is addressed, as humanitarian cinema allowed contact with suffering that was more intimate. Finally, the immediacy of the cinema technology and its induced immersive spectacle is analysed, to question the perceptual experience of the films’ settings with the production of eyewitness images and first-hand accounts during the screenings. The paper concludes by highlighting the
political change, vulnerability becomes a direct or unmediated experience characteristic of the life-world of the person concerned. Just as important as material aid, if not more so, is fast access to sympathetic value-added information. With design having supplanted politics within the post-humanitarian canon, the discursive field is bounded by the interplay between the empathy of the onlooker or practitioner and the direct experience of the affected. 10 The aim is no longer to control or contain disasters – it’s more about improving how they
should mention that the museum is also a collecting institution. That’s something that many people tend to overlook: as a museum, we collect, store, and archive parts of the material and written record of the Red Cross. So we also have a library which serves researchers. SK: Ah, that’s interesting. So you’re involved in a wide spectrum of activities. Still I am wondering somewhat about, let’s say, the general significance of the institution of the Red Cross museum. Isn’t there something old-fashioned and outdated about museums in this world of online communication
figure to overcome the politics of borders ( Johnson, 2011 ; Malkki, 1996 ; Rajaram, 2002 ), or the contribution of visual media to ideologies embedded in humanitarian narratives, from the human rights framework to colonialism, nationalism, and imperialism ( Briggs, 2003 ; Dogra, 2012 ; Lydon, 2016 ; Sliwinski, 2011 ). In this special issue, we build on such scholarship by inquiring into the role that specific media such as photography, film, graphic materials, or museums
refugee women through artisanal entrepreneurship. We then introduce Carol Bacchi’s ‘what is the problem represented to be’ (WPR) approach, pointing to its significance in identifying stereotypical representations of the refugee woman in humanitarian discourse. We also discuss our material, which is collected in digital settings. Thereafter we analyse the problem representations of the refugee woman within the two cases, the assumptions that underpin them as well as their
focusing on furniture and furnishings. Among other things, this entailed installing softer lighting, distributing simple materials to filter the harsh florescent bulbs, erecting divides to address the lack of privacy and adding splashes of colour and comfort throughout. It was, I immediately felt, an important if modest idea. The three Viennese projects were simple but effective, cheap but transformative, fast but sensitive. They had been implemented with small amounts of money
determine the international response required, and the Humanitarian Data Exchange (HDX) amalgamates different datasets into one easy-to-access open platform, to name but three. These quantitative measures are the result of an ensemble of material, logistical, conceptual, sociological, institutional, ideological and historical processes. And, in turn, they wield a considerable amount of power: dictating flows of international aid, prioritising certain humanitarian problems over
the age of data colonialism ( Couldry and Mejias, 2019 ). 5 Wearables are understood as a form of ‘techno-science’ that contributes to the production of legible, quantifiable and consumable bodies, and which makes possible ordering practices that are materially productive of aid, but which may also create new protection needs for the digital/physical beneficiary body ( Asdal et al. , 2007 ; Jacobsen and Sandvik, 2018 ). Little critical scholarly attention has been
described different tactics to the process, either choosing to go through the OFAC process first and UNSC exemption second or vice versa. Tracking the outcome of other organisations’ exemption processes emerged as a useful tool, with interviewees explaining that they knew to apply for exemptions for certain materials due to the experiences of other humanitarian groups. The administrative burden was a common theme in interviews. Concerns ranged from time spent on applications and money for lawyers, to a lack of clarity in the various processes. The ability of small