Trauma & Healing

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Groupwork with Refugees and Survivors of Human Rights Abuses: The Power of Togetherness

Jude Boyles, Robin Ewart-Biggs, Rebecca Horn, Kirsten Lamb (eds.)

London; New York: Routledge (2023), 260 pp.

"Groupwork with Refugees and Survivors of Human Rights Abuses describes, explores and promotes the power of groupwork for refugees and survivors of human rights abuses in a range of contexts. Drawing on multiple theoretical approaches, the book features chapters from practitioners running groups in ... more

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The Nanjing Massacre and the Making of Mediated Trauma

Hongtao Li, Shunming Huang

Abingdon, Oxon; New York: Routledge (2022), xviii, 235 pp.

"Drawing on cultural trauma theory, this book investigates how collective memory of the Nanjing Massacre [by Japanese troops against the residents of Nanjing, China, during the Second Sino-Japanese War, 1937-1945] is fashioned in China and how the mass media, political power and public praxis jointl ... more

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Languages of Trauma: History, Memory, and Media

Peter Leese, Julia Barbara Köhne, Jason Crouthamel (eds.)

Toronto; Buffalo; London: University of Toronto Press (2021), xiv, 408 pp.

"This volume traces the distinct cultural languages in which individual and collective forms of trauma are expressed in diverse variations, including oral and written narratives, literature, comic strips, photography, theatre, and cinematic images. The central argument is that traumatic memories are ... more

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What's Your Story? Story-Sharing and Grief. How Story-Sharing Can Help Your Church Community Deal with Grief and Emotional Stress

Merrishia Singh-Naicker, Brian Helsby, Emma Delius et al.

Heartlines Centre (2021), 15 pp.

"This resource is a guide for how you can use story-sharing in your church programmes to address grief and stress. It includes practical ideas on how to run What’s Your Story? story-sharing exercises to help your church members." (Page 5)

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Documenting Trauma in Comics: Traumatic Pasts, Embodied Histories, and Graphic Reportage

Dominic Davies, Candida Rifkind (eds.)

Cham: Palgrave Macmillan (2020), xxi, 345 pp.

"Why are so many contemporary comics and graphic narratives written as memoirs or documentaries of traumatic events? Is there a specific relationship between the comics form and the documentation and reportage of trauma? How do the interpretive demands made on comics readers shape their relationship ... more

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Trauma Reporting: A Journalist's Guide to Covering Sensitive Stories
Key Guides

Jo Healey

London; New York: Routledge (2020), xii, 205 pp.

Trauma Reporting provides vital information on developing a healthy, professional and respectful relationship with those who choose to tell their stories during times of trauma, distress or grief. Amid a growing demand and need for guidance, this fascinating book is refreshingly simple, engaging and ... more

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Sharing the Burden of Stories from the Tutsi Genocide. Rwanda: Écrire par Devoir de Mémoire

Anna-Marie de Beer

Cham: Palgrave Macmillan (2020), xii, 300 pp.

"This book deals with literary representations of the genocide against the Tutsi in Rwanda. Its focus is a transnational, polyphonic writing project entitled Rwanda: écrire par devoir de mémoire (Rwanda: Writing by Duty of Memory), undertaken in 1998 by a group of nine African authors. Anna-Marie ... more

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Transmitted Wounds: Media and the Mediation of Trauma

Amit Pinchevski

New York: Oxford University Press (2019), vii, 186 pp.

"Transmitted Wounds explores the ways media shape the social life of trauma both clinically and culturally. Through a series of case studies - from the radiocasts of the Eichmann trial to virtual reality therapy for PTSD - Pinchevski offers a bold thesis about the deep association of media and traum ... more

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Dealing with the Past: Aspects of Trauma and Healing

Alice Murage, Ali Al-Nasani, Dara Bramson (eds.)

Heinrich Böll Stiftung Cambodia (2018), 82 pp.

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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

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Performing Trauma in Central Africa: Shadows of Empire

Laura Edmondson

Bloomington: Indiana University Press (2018), xviii, 348 pp.

"What are the stakes of cultural production in a time of war? How is artistic expression prone to manipulation by the state and international humanitarian organizations? In the charged political terrain of post-genocide Rwanda, post-civil war Uganda, and recent violence in the Democratic Republic of ... more

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Conflict, Trauma and the Media: A Collection of Essays

Guy Hodgson (ed.)

Newcastle upon Tyne: Cambridge Scholars Publishing (2017), vi, 168 pp.

"This collection of essays explores the complicated relationship between the messengers bringing news of catastrophic upheaval and the recipients of that message. It concentrates on the journalists, photographers and film-makers, reflecting not only the motivations behind their work, but also the ps ... more

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Digital Trauma Processing in Social Media Groups: Transgenerational Holocaust Trauma on Facebook

Anna Menyhért

Hungarian Historical Review, volume 6, issue 2 (2017), pp. 355-376

"In recent years, more and more social media (Facebook) groups have been created dealing with memories of the Holocaust in Hungary. In this article, I analyze and compare two groups, “The Holocaust and My Family” and “The Descendants of the Victims and Survivors of the Holocaust” in the fram ... more

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The Trauma Graphic Novel

Andrés Romero-Jódar

New York; London: Routledge (2017), x, 179 pp.

"The end of the twentieth century and the turn of the new millennium witnessed an unprecedented flood of traumatic narratives and testimonies of suffering in literature and the arts. Graphic novels, free at last from long decades of stern censorship, helped explore these topics by developing a new s ... more

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Disaster Drawn: Visual Witness, Comics, and Documentary Form

Hillary L. Chute

Cambridge, Mass.; London: Belknap Press; Harvard University Press (2016), 359 pp.

"In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by d ... more

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Making Secondary Trauma a Primary Issue: A Study of Eyewitness Media and Vicarious Trauma on the Digital Frontline

Sam Dubberley, Elizabeth Griffin, Haluk Mert Bal

Istanbul: Eyewitness Media Hub (2015), 69 pp.

"The rapid and incredible growth of eyewitness media (also known as user-generated content or UGC) has led to the emergence of a new cadre of journalists, humanitarian and human rights professionals whose job it is to seek out, verify and edit the most disturbing and traumatic raw images captured by ... non professionals and posted online. These professionals are tasked with viewing and sifting through massive volumes of eyewitness media - that is, raw, unedited, authentic footage now captured regularly on smartphones - to enhance their investigations, reporting, operations, prosecutions and advocacy. Professionals who work with eyewitness media watch disturbing footage from war zones, natural and manmade disasters and accidents over and over again to verify its veracity and to edit out images that are deemed too extreme for viewing by the general public. Viewing traumatic images of death, destruction, blood and unimaginable horrors all day every day - often for years on end - is now an integral part of the daily work of many desk-bound staff working for news, human rights and humanitarian organisations who are often located thousands of miles away from where the actual horrors occur. Whether it is a broadcaster, publisher, human rights or humanitarian professional, symptoms associated with post-traumatic stress disorder (PTSD) are now evident amongst staff working in offices on what we call the digital frontline. This study builds upon previous research that proved that viewing distressing eyewitness media can lead psychological injury, including, but not restricted to, such conditions as PTSD and major depression. The principle aim of this research is to explore the following questions: How much distressing eyewitness media are professionals, who work in the three professional sectors, watching? How frequently, and in what volumes are professionals viewing distressing eyewitness media? What kinds of eyewitness media do professionals find particularly distressing?" What coping mechanisms, if any, have been developed by staff to help mitigate the potentially negative effects of viewing distressing content? - What support, if any, do professionals receive from their organisations and senior managers? - Does organisational culture encourage or prevent professionals from requesting support from their organisation’s hierarchy? What training and preparation is provided to raise awareness of or mitigate the adverse impact of trauma exposure on university graduates, newcomers and those established in post? What resources do organisations provide to prevent, mitigate and treat the adverse impact of trauma exposure? Which of those resources have been used? Which are found to be the most useful? What do staff who experience vicarious trauma need and expect from their organisations in order to support them? Based on an online survey (to which we received 209 responses from people working with eyewitness media across all three professional sectors) and 38 in-depth, anonymous interviews we find that: the impact of eyewitness media on journalism, human rights and humanitarian work means that the frontline is no longer geographic. A new type of frontline has emerged that is digital. Staff at an organisation’s headquarters who work with eyewitness media do so daily and often see more horror on a daily basis compared to their counterparts deployed in the field. Consequently, organisations have a duty of care towards office based staff working on the digital frontline who are at serious risk of vicarious trauma and PTSD [...] " (Executive summary, page 3-5) more

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Trauma and Public Memory

Jane Goodall, Christopher Lee (eds.)

Basingstoke, Hampshire; New York: Palgrave Macmillan (2015), xii, 231 pp.

"This collection of essays and interviews offers perspectives on traumatic experience from the social and public side of the equation. Like other books in the Palgrave Macmillan Memory Studies Series, it is concerned with redressing the balance of public memory through a focus on what has been negle ... more

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Medien und psychische Prozesse: Wie sich Traumata und Wünsche in Medien ausdrücken und deren Entwicklung antreiben

Christina L. Steinmann

Bielefeld: transcript Verlag (2013), 258 pp.

"Was treibt die Medienentwicklung an? Wie und warum prägen sich neue Medienformen aus? Christina L. Steinmann schlägt eine Perspektive vor, in der sich Traumata und Wünsche in Medien einschreiben und deren Entwicklung beeinflussen. Medien werden dabei als Ausdruck, Symptom und Auslagerungsort psy ... more

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Covering Trauma: A Training Guide

Jina Moore

Search for Common Ground, Radio for Peacebuilding Africa (2011), 20 pp.

"All stories about an ordinary person who becomes the victim of abuse require extra sensitivity, because survivors of abuse – whether the abuse is physical, emotional or political – are usually survivors of a traumatic event. There are many kinds of traumatic events. A terrible car crash, an ear ... more

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Trauma Journalism: On Deadline in Harm's Way

Mark H. Massé

New York; London: Continuum (2011), ix, 229 pp.

"The role of journalists in covering trauma and tragedy isn’t new. Witnessing acts of violence, destruction and terror has long been the professional responsibility of countless print and broadcast reporters and photographers. But what is new is a growing awareness of the emotional consequences of ... more

Trauma Reporting: A Journalist's Guide to Covering Sensitive Stories Key Guides

Trauma Reporting: A Journalist's Guide to Covering Sensitive Stories
Key Guides