This book analyses the evolving Anglo-American counter-terror propaganda strategies that spanned the wars in Afghanistan and Iraq, as well as reconstruction, between 2001 and 2008. It offers insights into the transformation beyond this period, tracking many key developments as much as possible up to the time of writing (2013) and providing a retrospective on the 'war on terror'. Using empirical data located within multiple spheres, the book draws on sociology, political science and international relations, developing an interdisciplinary analysis of political communication in the international system. It shows how media technologies presented legal, structural and cultural problems for what were seen as rigid propaganda systems defined by their emergence in an old media system of sovereign states with stable target audiences. Propaganda successes and advances were an inconsistent by-product both of malfunction and of relationships, cultures and rivalries, both domestically and between the partners. The differing social relations of planners and propagandists to wider society create tensions within the 'machine', however leaders may want it to function. The book demonstrates that the 'messy' nature of bureaucracy and international systems as well as the increasingly fluid media environment are all important in shaping what actually happens. In a context of initial failures in formal coordination, the book stresses the importance of informal relationships to planners in the propaganda war. This situated Britain in an important yet precarious position within the Anglo-American propaganda effort, particularly in Iraq.
Visual Advocacy in the Early Decades of Humanitarian Cinema
of the twentieth century, all participated in forming injunctions to care about and react to the injustice exposed. Drawing from recent scholarship building on emotions and humanitarianism, this paper thus considers early humanitarian films as a form of ‘mediated humanitarian affect’; by the 1920s, this mediatechnology offered a new ‘scale of mediated communication, sensorial range of human experience, and capaciousness of moral attention’ ( Ross, 2020 : 169). The movies not only proposed ‘inducements to affective expression’ (175) but were the key component of
and in the
debate around the forms that these connections take, being variously
understood as a technological or non-technological formation, as natural
or unnatural, artificial or organic, purely cultural, absolutely technocratic,
all new or rather old, for instance. The question of the particular cultural
forms and practices that digital mediatechnologies might enable or
disallow, transform, reproduce or express, within different historical
contexts, finds its context within this more general problematic; and one
of those forms, of course, is narrative, which has
the stencilled surnames of each artist next to their respective cities of Buenos Aires, New York and Berlin/Cologne. These metropolitan centres are linked by a triangle of dotted lines, rendered in thicker marks with a darker shade of graphite than the contours of the continents. This contrast conveys the impression that the challenges of brute geography are receding in the face of the dematerialised connections facilitated by mediatechnologies, an inference further underscored by the poster’s trilingual Spanish, English and German text.
0.1 Wolf Vostell
examined some of the problems associated with the operation of
democracy in the late twentieth century. Some fears may be over-stated, and
different writers and politicians have their own particular misgivings and
complaints. There is agreement among many commentators on either side of
the Atlantic that all is not currently well with the body politic, and that British
and American democracy are today under strain.
As to the future, new forms of democratic involvement have become a possibility with the development of mediatechnology. The scope for the use of email as a
Steven Connor traces practices of disembodying
the human voice back to Greek and Roman oracles while noting its transformation through mediatechnology: ‘modern acoustic technologies, which
allow the transmission, reception, and multiplication of voices at a distance,
produce new configurations of the imaginary space of the body and the sociocultural space of its utterance’.16 Chion, in turn, found more recent precedents
of the disembodied voice in theater, opera, and pre-cinematic media presentations, including magic lantern shows and lectures incorporating projected
entertainment rather than news department and replaced the news desk and office chair with the sofa and armchair.
Breakfast TV was up for grabs at the point where the break-up of the public broadcast duopoloy combined with new mediatechnologies. As the pop-and-politicians dialectic had shown, these brought about an ‘increased experimentation with new journalistic formats’.
The new formats blurred the line between politics, current
sustainable futures yet only re-creates the past. Indeed, Charles could be interpreted as the living embodiment of the Firm as told in Running the Family Firm : an anachronistic institution utilising contemporary mediatechnologies, socio-political shifts and forms of capital accumulation; yet not willing to forgo historical privileges.
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.
filmic techniques and reworks them for the stage to keep
theatre in step with changes in human perception brought about by advances in mediatechnologies. For Lepage, taking such advances on board is essential for the relevance
and future of theatre practices; they are a key tool in his attempts to evoke in his work
the complex lived reality of contemporary culture in the developed world:
The only way that theatre can evolve, can stay alive, is to embrace the vocabulary of other
ways of telling stories …
People think fast today. They’re trained by TV, by