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Johan Höglund

When the moving image is invented and early film turned from the simple recording of everyday scenes to telling stories in the beginning of the twentieth century, these early films frequently turned to classic Gothic texts such as Frankenstein and Dracula . In this way, Gothic is multimodal and intermedial from its earliest beginnings and it invades virtually all new forms of artistic communication as these are invented. When computers and digital communication enabled what has been termed ‘new media’, Gothic moved with it, taking the form of hypertexts, or what

in Nordic Gothic
From the literary corpus to the transmedia archive
David Houston Jones

This chapter considers the presence of ‘borderline’ forms of Beckettian adaptation in new media. In particular, it examines the productive but critical engagement of those forms with key tenets of Linda Hutcheon's classic A Theory of Adaptation ( 2006 ), especially the constraints which Hutcheon's theory imposes upon adaptation where scope is concerned. Although Hutcheon's understanding of adaptation is broad, considering video games and interactive art, ‘brief echoes’ of works are excluded because they ‘recontextualise only short fragments

in Beckett’s afterlives
Abstract only
Goth Subcultures in Cyberspace
Jason Whittaker

While Goths tend to be neglected in more mainstream media, they are thriving as part of online communities as part of the phenomenon of net.Goths. This paper considers some of the recent manifestations of such subcultural activities online, especially in relation to the practice of demarcating the boundaries of participation through displays of cultural capital (such as music and fashion), and aspects of communication that have emerged on the Internet such as ‘trolling’. The overarching concern of this paper is to explore some of the ways in which defining a subculture virtually may reinforce activities of the group in other environments.

Gothic Studies
Imaging gothic from the nineteenth century to the present

Monstrous Media/Spectral Subjects explores Gothic, monstrosity, spectrality and media forms and technologies (music, fiction's engagements with photography/ cinema, film, magic practice and new media) from the later nineteenth century to the present day. Placing Gothic forms and productions in an explicitly interdisciplinary context, it investigates how the engagement with technologies drives the dissemination of Gothic across diverse media through the twentieth and twenty-first centuries, while conjuring all kinds of haunting and spectral presences that trouble cultural narratives of progress and technological advancement.

Open Access (free)
Valérie Gorin
and
Sönke Kunkel

). Schwarz , K. C. and Richey , L. A. ( 2019 ), ‘ Humanitarian Humor, Digilantism, and the Dilemmas of Representing Volunteer Tourism on Social Media ’, New Media & Society , 21 : 9 , 1928 – 46 . Sliwinski , S. ( 2011

Journal of Humanitarian Affairs
Open Access (free)
Digital Bodies, Data and Gifts
Kristin Bergtora Sandvik

: Rethinking Big Data’s Relation to the Contemporary Subject’ , Television & New Media , 20 : 4 , 336 – 49 . Crawford , K. and Finn , M. ( 2015 ), ‘ The Limits of Crisis Data: Analytical and Ethical Challenges of Using Social and Mobile Data to Understand Disasters

Journal of Humanitarian Affairs
Four Conversations with Canadian Communications Officers
Dominique Marshall

Officers seem to have kept a better hold on the quick and indeterminate development of new media than other institutions. In this way, they might have much to offer in the wider reflection on the role of visual media in the global communications of the future. Acknowledgements The author would like to thank archivists of the Canadian Network on Humanitarian History, especially Sarah Glassford, Chris Trainor, and Lloyd Keane, for their advice and collaboration; colleagues Doris Buss, James Milner, and Blair Rutherford who introduced their NGO partners; and veteran

Journal of Humanitarian Affairs
Amanda Alencar
and
Julia Camargo

People on the Move , UNDP , www.undp.org/library/digital-livelihoods-people-move (accessed 20 July 2021 ). Georgiou , M. ( 2019 ), ‘City of Refuge or Digital Order? Refugee Recognition and the Digital Governmentality of Migration in the City ’, Television & New Media , 20 : 6

Journal of Humanitarian Affairs
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

Relief Operation, 1921–23 ’, Disasters , 18 : 3 , 221 – 37 . Bulletin de l’UISE ( 1922 ), ‘ L’authenticité des photographies du Dr Nansen sur la famine en Russie ’ ( 30 May ), 234 – 5 Cabanes , B. ( 2014 ), The Great War and the Origins of Humanitarianism, 1918–1924 ( Cambridge : Cambridge University Press ). Chouliaraki , L. ( 2008 ), ‘ The Mediation of Suffering and the Vision of a Cosmopolitan Public ’, Television & New Media , 9 : 5 , 371 – 91 . Clouzot , E. ( 1921 ), ‘ Cinema

Journal of Humanitarian Affairs
Open Access (free)
Batman Saves the Congo: How Celebrities Disrupt the Politics of Development
Alexandra Cosima Budabin
and
Lisa Ann Richey

. A. ( 2016b ), ‘ “Tinder Humanitarians”: The Moral Panic Around Representations of Old Relationships in New Media ’, Javnost – The Public , 23 : 4 , 398 – 414 . Richey , L. A. and Brockington , D. ( 2020 ), ‘ Celebrity Humanitarianism: Using Tropes of

Journal of Humanitarian Affairs