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one problem: the video wasn’t real. It was the creation of 34-year-old director Lars Klevberg, and it was filmed in Malta with child actors, using a set from the movie Gladiator . Klevberg said he wanted the video to start a conversation about the impact of war on children. Critics said he had gone too far: that the video created confusion and cynicism, which undermined attempts to address conflict in Syria ( Salyer, 2014 ). ‘Syrian hero boy’ was not an isolated incident. When audiences look online for information about humanitarian crises, they

Journal of Humanitarian Affairs
Open Access (free)

: Cambridge Universty Press , 2011 ), pp. 31 – 57 . Lewis , D. , D. Rodgers and M. Woolcock (eds), Popular Representations of Development: Insights from Novels, Films, Television and Social Media ( London : Routledge , 2014 ). Linfield , S. , The Cruel Radiance: Photography and Political Violence ( Chicago and London : University of Chicago Press , 2010 ). Moeller , S. , Compassion Fatigue: How the Media Sell Disease

in Global humanitarianism and media culture
Cinema, news media and perception management of the Gaza conflicts

In the animated film Waltz with Bashir (2008) about the director Ari Folman’s attempts to recover his and other ex-soldiers’ memories of the 1982 Lebanon War, we hear the story of an amateur photographer. He coped by picturing everything through an imaginary camera, which protected him from the horrors. With still images, the film tries to show us how a traumatised soldier sees

in Global humanitarianism and media culture
A visual narrative of the Romanian transition to capitalism

spoken narratives. The group is unique in its approach to photography as well as in its composition, bringing together members with a very diverse set of skills and sensibilities, many of them having been trained in the field of humanities as opposed to photog- 183 184 REVOLUTION, DEMOCRATIC TRANSITION AND DISILLUSIONMENT raphy. Among the group members, Voicu Bojan graduated from the Faculty of Letters; Cosmin Bumbut from the Academy of Theater and Film; Petrut Calinescu studied journalism and mass media and now works as a photojournalist; Bogdan Croitoru, Vasile

in Revolution, democratic transition and disillusionment

shock, allowing contemporary treatments of the concept to focus on shock as not only desirable but also essential to how the modern self is defined. Shock thus became directly connected to the thrill and speed of modern experience, to pleasure sought in reaching new extremes and surviving the impossible. It also became connected to the increasing stimulation of the senses particularly through different kinds of 57 58 REVOLUTION, DEMOCRATIC TRANSITION AND DISILLUSIONMENT illusory experiences made possible by the manipulation of the visual through photography, film

in Revolution, democratic transition and disillusionment