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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.
This article explores the intersections of generational and gender dynamics with humanitarian governance in Jordan that cause shifts in the division of labour within displaced families. Drawing on life history interviews and focus group discussions with seventeen Syrian women in Jordan in spring 2019, we explore the monetary and non-monetary contributions of middle-aged females to the livelihoods of refugee households. Older women’s paid and unpaid labour holds together dispersed families whose fathers have been killed or incapacitated, or remain in Syria or in the Gulf. In doing so, many women draw on their pre-war experience of living with – or rather apart from – migrant husbands. Increased economic and social responsibilities coincide with a phase in our interviewees’ lifecycle in which they traditionally acquire greater authority as elders, especially as mothers-in-law. While power inequalities between older and younger Syrian women are not new, they have been exacerbated by the loss of resources in displacement. Our insights offer a counterpoint to humanitarian attempts at increasing refugees’ ‘self-reliance’ through small-scale entrepreneurship. For now, culturally appropriate and practically feasible jobs for middle-aged women are found in their living rooms. Supportive humanitarian action should allow them to upscale their businesses and address power dynamics within families.
.B. Tauris ). Fehrenbach , H. ( 2015 ), ‘ From Aid to Intimacy: The Humanitarian Origins and Media Culture of International Adoption ’, in Paulmann , J. (ed.), Dilemmas of Humanitarian Aid in the Twentieth Century ( Oxford : Oxford University Press ), pp
exclude previous criminal convictions. They are also subject to annual appraisal and regular revalidation to ensure their skills and behaviour are satisfactory. Works Cited Bauman , E. ( 2019 ), ‘The Naive Republic of Aid: Grassroots Exceptionalism in Humanitarian Memoir’ , in Lawrence , M. and Tavernor , R. (eds), Global Humanitarianism and Media Culture ( Manchester : Manchester University Press ), pp. 83 – 102 , www.manchesteropenhive.com/view/9781526117304/9781526117304.00012.xml (accessed 6 July 2021 ). Black
. Works Cited Aas , K. F. ( 2006 ), ‘“ The Body Does Not Lie”: Identity, Risk and Trust in Technoculture ’, Crime, Media, Culture: An International Journal , 2 : 2 , 143 – 58 . Altay , N. and Labonte , M. ( 2014
Serial Shakespeare explores the dissemination and reassemblage of Shakespeare’s plays in contemporary media culture, regarding the way this taps into but also transforms his preferred themes, concerns and constellations of characters. The appropriations discussed include isolated citations in Westworld and The Wire, a typology of the first female president modelled on figures of female sovereignty, as well as a discussion of what one might call a specifically Shakespearean dramaturgy in Deadwood and The Americans. By proposing a reciprocal exchange between the early modern plays and contemporary serial TV drama, the book focusses on the transhistoric and transmedial dialogue a revisitation of the Bard entails. The readings consider the Shakespeare text again, from a different perspective, but also address the fact that his text comes back to us again, from the past. The book claims that serial TV drama keeps appropriating Shakespeare to give voice to unfinished cultural business regarding the state of the American nation because both share the sense of writing in and for a period of interim. Given that the Bard continues to write and read America, what the book draws into focus is how both scriptwriters and cultural critics can, by repurposing him, come up with narratives that are appropriate to our times.
One’, all including photographs from the couple's staged engagement photocall – obscured (whether intentionally or not) political-economic issues of monarchy and capital, through moral economies of familialism and (heteronormative) love. 13 Running the Family Firm is about the British monarchy, media culture, power, capital and inequalities. It probes conventional understandings of what monarchy is and why monarchy matters by exposing the systemic
immobilisation, but very concretely about agency. Claims of vulnerability can translate to claims to agency and voice, 4 4 Vulnerability as a political language but these claims can have completely oppositional political consequences, depending on who is making them. In this book we interrogate the tensions, complexities, and paradoxes of vulnerability in and through the media, particularly in feminist, queer, and anti-racist media cultures and debates about the production, use, and meanings of media. Our aim is, in particular, to make sense of the new language of
about the quotations from the two Queen Elizabeths is that both presided over periods of rapid change in media cultures, shifting how monarchy engaged with the citizenry. For Elizabeth I, the emergence of a market society and new consumer cultures in the late sixteenth century created what scholars have identified as a ‘public sphere’. 10 Readers consumed royal news like never before, sharing information using new print cultures. As Sharpe suggests, these changes brought both challenges and opportunities
In humanitarianism the popularising of causes, and the use of celebrities and media culture to do so, is a rising phenomenon. Academic writing on humanitarianism, however, tends to criticise the popular, especially when it is mediated through celebrities. 1 Such critiques often intersect with disapproval of the growing collaboration or crossbranding between humanitarian