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This collection interrogates the representation of humanitarian crisis and catastrophe, and the refraction of humanitarian intervention and action, from the mid-twentieth century to the present, across a diverse range of media forms: traditional and contemporary screen media (film, television and online video) as well as newspapers, memoirs, music festivals and social media platforms (such as Facebook, YouTube and Flickr). The book thus explores the historical, cultural and political contexts that have shaped the mediation of humanitarian relationships since the middle of the twentieth century. Together, the chapters illustrate the continuities and connections, as well as the differences, which have characterised the mediatisation of both states of emergency and acts of amelioration. The authors reveal and explore the significant synergies between the humanitarian enterprise, the endeavour to alleviate the suffering of particular groups, and media representations, and their modes of addressing and appealing to specific publics. The chapters consider the ways in which media texts, technologies and practices reflect and shape the shifting moral, political, ethical, rhetorical, ideological and material dimensions of international humanitarian emergency and intervention, and have become integral to the changing relationships between organisations, institutions, governments, individual actors and entire sectors.

1980–2000
Dominique Marshall

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

Journal of Humanitarian Affairs
Open Access (free)

Featuring twelve original essays by leading Beckett scholars and media theorists, this book provides the first sustained examination of the relationship between Beckett and media technologies. The chapters analyse the rich variety of technical objects, semiotic arrangements, communication processes and forms of data processing that Beckett’s work so uniquely engages with, as well as those that – in historically changing configurations – determine the continuing performance, the audience reception, and the scholarly study of this work. Greatly enlarging the scope of earlier discussions, the book draws on a variety of innovative theoretical approaches, such as media archaeology, in order to discuss Beckett’s intermedial oeuvre. As such it engages with Beckett as a media artist and examine the way his engagement with media technologies continues to speak to our cultural situation.

Mia-Marie Hammarlin

1 In the middle of the media storm This part of the book presents fundamental themes in the interviews with the central figures of the scandals and their partners. I initially focus on the changes in everyday life that each scandal involved for those affected by it and the emotions it engendered. Initially, the emphasis is on the experience of actually being at the centre of a scandal and on the feelings of loneliness, guilt, shame, grief, and anger that came to dominate the lives of several of those affected. I will use everyday life as a starting-point, where

in Exposed
An Interview with Rainer Schlösser, Spokesperson of the Association of the Red Cross Museums in Germany (Arbeitsgemeinschaft der deutschen Rotkreuz-Museen)
Sönke Kunkel

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

Journal of Humanitarian Affairs
Armin Schäfer

The concept of media in Beckett has to be defined as neither a form of representation nor as a technical apparatus, nor as a symbolic system but, rather, as a means to render something visible and audible that would otherwise be beyond perception or the scope of attention. If we begin to inquire into what Beckett has to say to media studies about the vexed question of how the concept of media can be defined, the issue of exhaustion will arise. Exhaustion is to human subjects what Beckett's works are to media. From the perspective of

in Beckett and media
Martin Harries

of address to the spectator must be understood in relation to histories of media. Beckett's work inside and against the media surround in which his plays were first staged offers an example of a technique typical of his theatrical work: the proscenium, the frame of the old medium, becomes the object of what Brecht called Umfunktionierung . Apparently unchanged, same as it ever was, the proscenium, in Beckett's theatre, undergoes a refunctioning, precisely as a result of Beckett's encounter with mass media that had remade culture. To summarise

in Beckett and media
Tinne Claes and Katrin Pilz

of the hygienist movement or the rise of mass media, their findings do not always fully apply to the Belgian sociopolitical context. From existing case studies we know that local specificities are crucial to understand the transformation of medical knowledge. For example, Peeters has suggested that humoral representations of the body adhered to the worldview of many Catholic

in Medical histories of Belgium
Towards a digital Complete Works Edition
Dirk Van Hulle

a suitable test case to see how the digital CWE can help the reader navigate this intratextual web and test the research hypothesis; Beckett's long creative career, which spans more than fifty years and constitutes a rich and multifaceted oeuvre; the variety of genres and media (radio, TV, film) that Beckett practised throughout his life, which allows for building a model suitable for drama, poetry, prose fiction and critical essays, and which makes it relevant to research fields such as intermediality and media studies. Beckett's translingualism is yet another

in Beckett and media
Justin A. Joyce

No Abstract

James Baldwin Review