Dealing with the Past CAMECO

This special collection focuses on the role of the media and communication in Dealing with Violent Pasts. It is based on the collaboration between the Media Consultancy CAMECO in Aachen (Germany) and the Agiamondo Civil Peace programme on Dealing with the Past in the African Great Lakes region. Within a network of ten civil society organisations, including seven Catholic Justice and Peace Commissions in Burundi, Rwanda and DR Congo, CAMECO contributes its expertise in media and communication for Peace. This collection is organised by Justine Cibembe and Christoph Dietz.

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Documenting Syria: Film-Making, Video Activism and Revolution

Josepha Ivanka Wessels

London et al.: Tauris (2019), xiv, 321 pp.

"Since the 1970s, Syrian cinema masters played a defining role in avant-garde filmmaking and political dissent against authoritarianism. After the outbreak of violence in 2011, an estimated 500,000 video clips were uploaded making it one of the first YouTubed revolutions in history. This book is the ... more

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Memória e direitos humanos: Desafios contemporâneos

Porto Alegre: Editora Fi (2019), 262 pp.

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A cat-and-Maus game: The politics of truth and reconciliation in post-conflict comics

Henry Redwood, Alister Weddernburn

Review of International Studies, volume 45, issue 4 (2019), pp. 588-606

"Several scholars have raised concerns that the institutional mechanisms through which transitional justice is commonly promoted in post-conflict societies can alienate affected populations. Practitioners have looked to bridge this gap by developing ‘outreach’ programmes, in some instances commi ... more

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The Representation of Genocide in Graphic Novels: Considering the Role of Kitsch

Laurike in t' Veld

Cham: Palgrave Macmillan (2019), ix, 230 pp.

"This book mobilises the concept of kitsch to investigate the tensions around the representation of genocide in international graphic novels that focus on the Holocaust and the genocides in Armenia, Rwanda, and Bosnia. In response to the predominantly negative readings of kitsch as meaningless or in ... more

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'Screening' Transitional Justice in Serbia: ICTY Representations and the Memory of War Crimes in Serb Television Media

Anna Geis, Katarina Ristic, Vladimir Petrovic

Osnabrück: Deutsche Stiftung Friedensforschung (DSF) (2019), 41 pp.

"The visual presentation of the Serb accused in TV news was based on iconic images of the accused combined with symbolic images of the state and its power, with nearly complete absence of visuals of atrocities and victims. In contrast, the visual presentation of the Croatian, Bosniak and Albanian de ... more

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Vergeben und vergessen? Erinnerungskultur

iz3w, issue 373 (2019), pp. 16-37

"In den 1980er Jahren verstärkte sich das Unbehagen an der Gedenkkultur mit ihren Heldenerzählungen und nationalen Beschränkungen. Mit der größeren Komplexität des Gedenkens und der Hinwendung zu den sozialen Kosten historischer Ereignisse prägte sich eine neue Erinnerungskultur aus. Diese is ... more

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Media Freedom and Responsibility

Balkan Perspectives, issue 13 (2019), 24 pp.

"In the western Balkans, where post-war societies are still trying to rebuild their lives, and tensions lie just below the surface, media messages influenced by the politics of the day are destabilizing. For some, this is poorly disguised propaganda, a kind of political “spin”, “spun” by man ... more

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The Role of the Media in Fostering a Culture of Critical Engagement in the Context of Mass Atrocities: Examples from Rwanda, Colombia and South Sudan

Mark Frohardt, Paula Orlando

In: Media and Mass Atrocity: The Rwanda Genocide and Beyond

Allan Thompson (ed.)

Waterloo, Ontario: Centre for International Governance Innovation (2019), pp. 205-234

"A brief recap of the examples discussed here suggests, among other things, the following considerations: When information circulation is limited due to censorship or security concerns, it may be necessary to restrict information to what is essential for survival. In the case of BBTT in South Sudan, ... humanitarian information is produced and transmitted by residents of the UN protected sites, in local languages and for local residents only; Likewise, in post-genocide Rwanda, where broadcasting news about atrocities would have been very challenging, the newsreel project provided information and space for discussion for different groups, while creating a conversation that extended beyond each screening and location; BBTT and the newsreels project also demonstrate that closed environments may be the best option to provide information safely and allow for open discussions among individuals affected by violence. By employing the use of listening and discussion groups, the program furthers its goal of engaging residents and extending their participation in the local form of public sphere. These controlled environments are particularly important to encourage the participation of victims, women and other marginalized groups in dialogue; Training and engaging citizens to gather, curate and disseminate content, as BBTT does with community correspondents, is an effective way to provide information that matters to people's lives and to foster a culture of critical engagement. These processes potentially help communities rebuild media structures once the political situation stabilizes; Media outlets that create avenues for interaction and feedback tend to be most successful in providing content that is relevant and engaging to audiences, as in the case of Sawa Shabab in South Sudan; Drama, games, storytelling and other forms of engagement with narratives provide opportunities for individuals to work together, regain social trust, learn about alternate forms of participation and reconstruct symbolic narratives, as demonstrated by the examples in Colombia; Recognition of the suffering of the victims as well as of their agency in resisting violence is also crucial in a post-atrocities context. This may come in the form of interactive media-making by citizens or in initiatives supported by media or research organizations such as the National Center for Historical Memory." (Pages 226-227) more

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Advanced Digital Technology and Genocide and Mass Atrocities Prevention

Steven Livingston, Alice Musabende

In: Media and Mass Atrocity: The Rwanda Genocide and Beyond

Allan Thompson (ed.)

Waterloo, Ontario: Centre for International Governance Innovation (2019), pp. 557-577

"There is no doubt that technology has improved the ability to document war crimes and human rights abuses, even in otherwise inaccessible locations. The world now sees, often in close to real-time, atrocities that would have been lost to the world only a handful of years ago. But does knowing neces ... more

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Nosotros, Colombia ... Comunicación, paz y (pos)conflicto

Sergio Roncallo Dow, Juan David Cárdenas Ruiz, Juan Carlos Gómez Giraldo (eds.)

Chía: Universidad de La Sabana; Editorial EAFIT (2019), 279 pp.

"La paz parece haber sido esquiva en la historia de Colombia. Los vaivenes en los procesos de negociación, las promesas incumplidas y la polarización política han hecho de Colombia una nación en un estado de continua crisis y que, a pesar de sí misma —retomando la vieja frase de Bushnell— h ... more

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Documenting atrocities around the world: Why engage with the perpetrators?

Fernando Canet

International Journal of Cultural Studies, volume 22, issue 6 (2019), pp. 804-822

"Following a century filled with violations of human rights, a significant number of documentary films have appeared since the first decade of the current century that report these events. Traditionally this process is carried out from the victims’ point of view. However, a new tendency has emerge ... more

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Interministerial Strategy to Support “Dealing with the Past and Reconciliation (Transitional Justice)” in the Context of Preventing Crises, Resolving Conflicts and Building Peace

Berlin: German Federal Foreign Office (2019), 32 pp.

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Memories of Gukurahundi Massacre and the Challenge of Reconciliation

Isheanesu Gusha

Studia Historiae Ecclesiasticae, volume 45, issue 1 (2019), 14 pp.

"When Zimbabwe attained her independence from colonial powers in 1980, prospects of a peaceful nation were high, especially following the pledge made by the Prime Minister Elect in his victory speech. Isaiah 2:4b was quoted as a metaphor of peace, but things did not turn out as expected in the follo ... more

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Living history: Zeitreisen(de) im Reality-TV

Monika Weiß

Marburg: Schüren (2019), 243 pp.

"Eine besondere Spielart von Doku-Soaps sind historische Rollenspiele im Fernsehen, die nicht konkrete Ereignisse nach-spielen (also keine Reenactments), sondern den konkreten Alltag vergangener Zeit nach-leben wollen. Menschen von heute agieren unter den Bedingungen einer vergangenen Epoche. Unters ... more

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Deutsche Kolonialgeschichte

Aus Politik und Zeitgeschichte, volume 69, issue 40 (2019), 46 pp.

"Mit dem Versailler Vertrag musste Deutschland 1919 seine Kolonien abtreten. Das Ende des deutschen Kolonialreichs war jedoch in erster Linie ein formales. Die Fremdherrschaft in den ehemaligen Kolonien setzte sich unter dem Status als Völkerbundmandate fort, und kolonial geprägte Denk- und Wahrne ... more

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Media and Mass Atrocity: The Rwanda Genocide and Beyond
Deep Insights

Allan Thompson (ed.)

Waterloo, Ontario: Centre for International Governance Innovation (2019), x, 637 pp.

"The book includes an extensive section on the echoes of Rwanda, which looks at the cases of Darfur, the Central African Republic, Myanmar, and South Sudan, while the impact of social media as a new actor is examined through chapters on social media use by the Islamic State and in Syria and in other ... more

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Development Vs Peace? The Role of Media in the Law of Victims and Land Restitution in Colombia

Catalina Montoya Londoño, Maryluz Vallejo Mejía

Media, War & Conflict, volume 11, issue 3 (2018), pp. 336-357

"The Law of Victims and Land Restitution, ratified in June 2011 and enforced since January 2012, constitutes an unprecedented attempt to end armed conflict in Colombia by applying a transitional justice framework and fostering rural development. Drawing on a methodology that integrates framing and r ... more

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Víctimas y prensa después de la guerra: Tensiones entre intimidad, verdad histórica y libertad de expresión

Vivian Newman Pont, María Paula Ángel Arango, María Ximena Dávila Contreras

Bogotá: Dejusticia (2018), 94 pp.

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Digital Memory Studies: Media Pasts in Transition

Andrew Hoskins (ed.)

New York; London: Routledge (2018), xii, 313 pp.

"Digital media, networks and archives reimagine and revitalize individual, social and cultural memory but they also ensnare it, bringing it under new forms of control. Understanding these paradoxical conditions of remembering and forgetting through today’s technologies needs bold interdisciplinary ... more

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Trauma, Memory and Religion

Freek Bakker, Lucien van Liere (eds.)

Journal for Religion, Film and Media (JRFM), volume 4, issue 1 (2018), pp. 7-77

"How can we screen trauma? This question might lead the perception of documentary movies about atrocities in the 20th and 21st centuries, like S21 The Khmer Rouge Killing Machine (Rithy Panh, CAMB/FR 2003) about Cambodia, The Look of Silence (Joshua Oppenheimer, ID/DK 2014) about Indonesia or Das Ra ... dikal Böse about Nazi-Europe. The first concern emerge as we watch movies on atrocities is whether these artistic representations perhaps guide the public away from what “really happened”. There certainly is a huge gap between, on the one hand, the immediate experience of the event that lies behind the interpretative screening and, on the other hand, watching the director’s material while neither part nor ever having been part of the event. Yet often filmic representations are not intended to show what happened; instead they present case studies to be explored in the present. Rity Panh, director of S21, argued in an interview with Joshua Oppenheimer, that if we can’t distinguish between perpetrator and victim, it becomes impossible to mourn. For Panh, his film is more than historic interpretation or a perspective on memory; it poses the broad question of how we think about perpetrators and victims in multiple contexts. In S21 Panh shows how in post-genocide Cambodia perpetrators are confronted by one of their victims. The question of why they acted as they did is swiftly transformed into a question of how they did so. The confrontation is set in Tuol Sleng, a former high school in Pnhom Penh where torture was carried out during the Khmer Rouge regime. In films like S21, Das radikal Böse and The Act of Killing, one question continually resounds for the audience: Is this what we are as human beings? What appears on the screen therefore challenges the audience with a moral question: what would you do? It is this question, heard in the present, that makes movies like S21, Das radikal Böse and The Act of Killing so immediate. In a way they look to confront a public that might already know the language of human rights. Breaking through established idioms by portraying perpetrators in specific situations, sometimes with the perpetrators playing themselves as in S21 and The Act of Killing, seems a missionary purpose for these directors. Indeed, their movies are hardly about a past; they establish a critical link between past and present and break through the dichotomic simplicity of good guys and bad guys. But the questions raised by the movies are hardly open questions. Often the movies contain an inherent critique of genocidal violence and present humanistic perspectives on obedience. Mostly, these movies underline the humanity of the victims, seeking to give names, faces and biographies so that they are much more than just numbers." (Editorial, pages 7-8) more

Media and Mass Atrocity: The Rwanda Genocide and Beyond Deep Insights

Media and Mass Atrocity: The Rwanda Genocide and Beyond
Deep Insights