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
Bacon 04 3/2/06 10:26 AM Page 76 4 The media Fears about the deterioration of press freedom in Russia during the presidency of Vladimir Putin have been widely discussed since his election in March 2000. In May 2003 Putin was included in a list of ‘Predators of Press Freedom’ issued by the Paris-based organisation Reporters Without Borders. In its 2003 annual Press Freedom Survey the international organisation Freedom House for the first time downgraded its evaluation of the Russian media from being ‘partly free’ to being ‘not free’.1 Concerns with regards to
and new visual media? I mean, how important can a Red Cross museum be in those times? RS: Well, being a museum director, I would of course say they are extremely important! [(laughter] SK: Yes, I see that point [laughter] But what exactly is it that makes them so important? RS: Let me point back to the ten-year anniversary of the Association of the Red Cross Museums in Germany here. I remember that I gave a speech on that occasion, in which I pointed out that big companies like Mercedes, Stollwerck, or Volkswagen – they all have a corporate museum. Why
3 Theorising and analysing media performance in wartime There are two principal objectives to this chapter. In order to move beyond purely empirical analysis, the first is to describe the analytical framework that serves as the basis for our theoretically informed and systematic analysis of wartime media performance. Building initially on existing work by Hallin (1986) and Wolfsfeld (1997), the first half of this chapter synthesises a range of models, hypotheses and explanatory variables, drawn from across the literature, in order to set out a framework
The Journal of Humanitarian Affairs is an exciting, new open access journal
hosted jointly by The Humanitarian Affairs Team at Save the Children UK, and
Centre de Réflexion sur l’Action et les Savoirs Humanitaires MSF (Paris) and the
Humanitarian and Conflict Response Institute at the University of Manchester. It
will contribute to current thinking around humanitarian governance, policy and
practice with academic rigour and political courage. The journal will challenge
contributors and readers to think critically about humanitarian issues that are
often approached from reductionist assumptions about what experience and
evidence mean. It will cover contemporary, historical, methodological and
applied subject matters and will bring together studies, debates and literature
reviews. The journal will engage with these through diverse online content,
including peer reviewed articles, expert interviews, policy analyses, literature
reviews and ‘spotlight’ features.
Our rationale can be summed up as follows: the sector is growing and is facing severe ethical and practical challenges. The Journal of Humanitarian Affairs will provide a space for serious and inter-disciplinary academic and practitioner exchanges on pressing issues of international interest.
The journal aims to be a home and platform for leading thinkers on humanitarian affairs, a place where ideas are floated, controversies are aired and new research is published and scrutinised. Areas in which submissions will be considered include humanitarian financing, migrations and responses, the history of humanitarian aid, failed humanitarian interventions, media representations of humanitarianism, the changing landscape of humanitarianism, the response of states to foreign interventions and critical debates on concepts such as resilience or security.
humanitarian communication, and you get a different picture: here, history is everywhere. No website of any major humanitarian organization comes along without its own history section. On YouTube, humanitarian players provide an ever growing number of documentaries about their past and origins. Fundraising campaigns, mass mailings, and social media posts all point frequently to historical achievements. Major aid organizations now also call on their branches to ‘enhance the historical and cultural
volunteers, to the rescue of archives in danger, the preparation of exhibits and documentary films, the celebration of anniversaries, the writing of policy briefs, the visit of humanitarians in university courses, and the visit of historians to humanitarian conferences. For professional historians of aid and development, such joint ventures provide a unique way to find and create documents required to understand the actions and the words of as many of those involved as possible, in as many contexts as possible. The five media specialists encountered in December 2020 for
-immigrant fringes, was bolstered by the statements of the European border control agency Frontex, caught fire on social media, was then repeated by major media outlets, politicians and prosecutors, and eventually became policy of the then-government of Italy, under Interior Minister Matteo Salvini. It achieved its moment of (temporary) victory in 2018 with the closing of Italian ports to NGO vessels and the halting of search and rescue operations by NGOs on the Mediterranean. The
improve and deepen collaborations between professional historians and humanitarian institutions (see Borton, 2016 ; O’Sullivan and Chéilleachair, 2019 ; Taithe and Borton, 2016 ), this essay seeks to explore how public historians and their work may enrich and contribute to extending the uses of history among humanitarian practitioners. In what follows, I depart from the assumption that Red Cross museums, like other humanitarian media, are about seeing
crises, they increasingly encounter media content that blurs the line between reality and fiction. This includes everything from rumours and exaggerations on social media, through to partisan journalism, satire and completely invented stories that are designed to look like real news articles. Although this media content varies enormously, it is often grouped together under nebulous and all-encompassing terms such as ‘fake news’, ‘disinformation’ or ‘post-truth’ media. Scholars have started to pay serious attention to the production and impact of all