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