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.
Middle-Aged Syrian Women’s Contributions to Family Livelihoods
during Protracted Displacement in Jordan
Ruba al Akash
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
( 2015 ), ‘ From Aid to
Intimacy: The Humanitarian Origins and MediaCulture of International
Adoption ’, in
Paulmann , J.
(ed.), Dilemmas of Humanitarian Aid in the Twentieth
Century ( Oxford :
Oxford University Press ), pp
Writing about Personal Experiences of Humanitarianism
exclude previous criminal convictions. They are also subject to annual appraisal and regular revalidation to ensure their skills and behaviour are satisfactory.
( 2019 ), ‘The Naive Republic of Aid: Grassroots Exceptionalism in Humanitarian Memoir’ , in
(eds), Global Humanitarianism and MediaCulture ( Manchester : Manchester University Press ), pp.
83 – 102 , www.manchesteropenhive.com/view/9781526117304/9781526117304.00012.xml (accessed 6 July 2021 ).
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 .
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.
Running the Family Firm is about the British monarchy, mediaculture, 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,
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 mediacultures and debates about the production, use, and
meanings of media. Our aim is, in particular, to make sense of the new
about the quotations from the two Queen Elizabeths is that both presided over periods of rapid change in mediacultures, 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’.
Readers consumed royal news like never before, sharing information using new print cultures. As Sharpe suggests, these changes brought both challenges and opportunities
Offline and online games, branding and humanitarianism at the Roskilde
Lene Bull Christiansen
Mette Fog Olwig
In humanitarianism the popularising
of causes, and the use of celebrities and mediaculture 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