"Online media is a blessing and a curse for academic research on war. On the one hand, the internet provides unprecedented access to information from conflict zones. On the other hand, the prevalence of disinformation can make it difficult to use this information in a transparent way. This article p
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roposes digital forensic process tracing as a methodological innovation to tackle this challenge and make case study research on the causes of war fit for the social media age. It argues that two important features of process-tracing methodology – source criticism and Bayesian updating – are well developed in theory but are rarely applied to the study of armed conflict. Digital forensic process tracing applies these features to online media sources by drawing on the journalistic practice of open source intelligence (OSINT) analysis. This article uses the case of the war in eastern Ukraine’s Donbas region to illustrate the usefulness of the proposed methodology." (Abstract)
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"GIJN’s comprehensive, 16-chapter Reporter’s Guide to Investigating War Crimes includes expert advice from more than two dozen specialists and journalists, covering everything from the legal aspects of war, attacks on civilians, conflict-related sexual violence, environmental crimes, banned weap
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ons, genocide, forced disappearances, archiving evidence, open source research, military command structures, tracing war criminals, documenting with photo and video, physical and digital security best practices, and self-care for covering traumatic events." (https://gijn.org)
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"The book was born out of the need to understand and convey the experience of journalists who testified before the International Criminal Tribunal for the Former Yugoslavia (ICTY). Aiming to shed light on the insufficiently researched role of journalists and newspaper material before the ICTY, Media
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centar Sarajevo’s research team gathered and analyzed 2,760 evidence items from the Hague Tribunal court records, while the experiences of 14 journalists who testified before the Hague Tribunal were recorded through in-depth interviews." (Publisher description)
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"[…] Journalists covering conflict zones in some cases become first-hand witnesses to crimes, including international crimes such as systematic killing of civilians, serious acts of torture and mass sexual violence. This guide aims to provide simple, accessible advice to journalists (and editors)
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who capture information which appears to be evidence of international crimes. It does not aim to transform readers into investigators or experts on the law of evidence. Instead, the guide offers to support journalists when they happen to become engaged in events which may involve international crimes. Often very simple steps can substantially enhance the evidentiary value of information. While the focus of this guide is on international crimes, the same information may also be useful in providing evidence of human rights and other types of abuse." (Executive summary, page 3)
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"Straddling the boundary between historical inquiry and personal reflection, this extraordinary text unfolds as a series of encounters with eponymic Holocaust photographs. Although only a small number of photographs are reproduced here, Fresco provides evocative descriptions of many well-known image
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s: synagogues and Torah scrolls burning on the night of Kristallnacht; deportations to the ghettos and the camps; and, finally, mass executions in the killing fields of Eastern Europe. The unique set of photographs included in On the Death of Jews shows groups of women and children from Liepaja (Liepaja), shortly before they were killed in December 1941 in the dunes of Shkede (Skede) on the Baltic Sea. In the last photograph of the series, we see the victims' bodies tumbling into the pit." (Foreword, page vii-viii)
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"This document was developed as an instrument to support civil society organizations (CSOs) in Colombia in the development of oral archives and in the organization of their archival collections. It draws from the experience of GIJTR partners International Coalition of Sites of Conscience (ICSC) and
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Public International Law & Policy Group (PILPG), and ICSC members Memoria Abierta (Argentina), Parque por la Paz Villa Grimaldi (Chile) and Centro de Memoria Monseñor Juan Gerardi (Guatemala), combined with lessons learned in supporting Colombian CSOs in preparing documentation for the Comisión para el Esclarecimiento de la Verdad) Truth Commission. This practical guide highlights basic principles in developing oral archives based on interviews, and in organizing human rights documentation archives. Section 1 focuses on the development of oral archives, and Section 2 offers basic advice on the first steps to help CSOs organize their archives." (About this toolkit)
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"In the last two decades, amid the global spread of smartphones, state killings of civilians have increasingly been captured on the cameras of both bystanders and police. Screen Shots studies this phenomenon from the vantage point of Israeli occupation of Palestinian territories. Here, cameras have
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proliferated as political tools in the hands of a broad range of actors and institutions, including Palestinian activists, Israeli soldiers, Jewish settlers, and human rights workers. All trained their lens on Israeli state violence, propelled by a shared dream: that advances in digital photography-closer, sharper, faster-would advance their respective political agendas. Most would be let down. Drawing on ethnographic work, Rebecca L. Stein chronicles Palestinian video-activists seeking justice, Israeli soldiers laboring to perfect the military's image, and Zionist conspiracy theorists accusing Palestinians of "playing dead." Writing against techno-utopianism, Stein investigates what camera dreams and disillusionment across these political divides reveal about the Israeli and Palestinian colonial present, and the shifting terms of power and struggle in the smartphone age." (Publisher description)
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"Why and how can records serve as evidence of human rights violations, in particular crimes against humanity, and help the fight against impunity? Archives and Human Rights shows the close relationship between archives and human rights and discusses the emergence, at the international level, of the
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principles of the right to truth, justice and reparation. Through a historical overview and topical case studies from different regions of the world the book discusses how records can concretely support these principles. The current examples also demonstrate how the perception of the role of the archivist has undergone a metamorphosis in recent decades, towards the idea that archivists can and must play an active role in defending basic human rights, first and foremost by enabling access to documentation on human rights violations. Confronting painful memories of the past is a way to make the ghosts disappear and begin building a brighter, more serene future. The establishment of international justice mechanisms and the creation of truth commissions are important elements of this process. The healing begins with the acknowledgment that painful chapters are essential parts of history; archives then play a crucial role by providing evidence. This book is both a tool and an inspiration to use archives in defence of human rights." (Publisher description)
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"1944 entstanden im Vernichtungslager Auschwitz-Birkenau eine Vielzahl von Fotografien, die zumeist den SS-Fotografen Bernhard Walter und Ernst Hoffmann zuzuordnen sind. Erhalten blieben die Bilder in Form eines Albums im Besitz der Holocaust-Überlebenden Lili Jacob, die es auf Vermittlung Serge Kl
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arsfelds 1980 der Gedenkstätte Yad Vashem übergab. Viele der in ihrer offenen oder subtilen Brutalität unerträglichen Aufnahmen zeigen aus der Distanz die Ankunft größerer Gruppen im Lager, andere bilden das Unbegreifliche aus nächster Nähe ab. Auf einigen Fotos sind Selektionen oder „Lagerarbeiten“ zu sehen, manche zeigen die Transportzüge sowie Koffer und Kleidung Verschleppter und Ermordeter, andere die Vernichtungsanlagen. Tal Bruttmann, Stefan Hördler und Christoph Kreutzmüller haben in akribischer Forschungsarbeit die Herkunft der abgebildeten Menschen, die Entstehung und den ideologischen Kontext des Albums analysiert und ordnen die Bilder in diese Zusammenhänge ein. Bewusst setzen sich die Autoren mit der Diskrepanz und den Deutungsebenen auseinander, die der Fotografie als (miss)interpretierbarer, (schein)objektiver Visualisierung eigen sind. Sie durchbrechen so zugleich die Intention des Albums – die Inszenierung des durchgeplanten und in Auschwitz und anderswo vollzogenen Menschheitsverbrechens der Nationalsozialisten als einen rationalen Akt." (Klappentext)
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"This paper examines online discourse about the White Helmets, a volunteer rescue group that operates in rebel (anti-regime) areas of Syria. The White Helmet’s humanitarian activities, their efforts to document the targeting of civilians through video evidence, and their non-sectarian nature (that
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disrupted regime-preferred narratives of rebels as Islamic terrorists) put the group at odds with the Syrian government and their allies, including Russia. Consequently, they became a target of a persistent effort to undermine them. Disinformation can be defined as information that is deliberately false or misleading. Its purpose is not always to convince, but to create doubt. Bittman (1985) describes one tactic of disinformation as “public relations … in reverse” meant to damage an adversary’s image and undermine their objectives. We argue that disinformation is best understood as a campaign—an assemblage of information actions—employed to mislead for a strategic, political purpose. Prior research and investigative reporting have characterized the campaign against the White Helmets as disinformation, due to its connection to Russia’s influence apparatus, its use of false and misleading narratives to delegitimize the group, and its function to create doubt about their evidence documenting atrocities perpetrated by the Syrian regime and their Russian allies. This research examines “both sides” of the White Helmets discourse—exploring how the White Helmets promote their work and foster solidarity with online audiences through their own social media activity and through episodic attention from mainstream media, and examining how the campaign against the White Helmets attempts to counter and delegitimize their work through strategic use of alternative and social media. We do not make any claims about the veracity of specific pieces of content or specific narratives shared by accounts on either side of this conversation. However, we do highlight how the campaign against the White Helmets reflects emerging understandings of disinformation in this context." (Page 2)
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"Social media platforms are taking down “terrorist and violent extremist content” more and more quickly, often in response to the demands of governments, but in a way that prevents the content from being used to support investigations into serious crimes, including war crimes. “Video Unavailab
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le”: Social Media Platforms Remove Evidence of War Crimes, examines the value of social media content in human rights investigations and the impacts that content takedowns are having for international and national investigators, civil society organizations, and the media. Human Rights Watch is calling for a broad consultative process with all relevant stakeholders, including social media companies, to develop a mechanism to preserve potential evidence of serious crimes that was posted publicly online and make it available to support national and international prosecutions, as well as investigations by civil society organizations, journalists and academics." (Back cover)
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"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
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first history of documentary filmmaking in Syria. Based on extensive media ethnography and in-depth interviews with Syrian filmmakers in exile, the book offers an archival analysis of the documentary work by masters of Syrian cinema, such as Nabil Maleh, Ossama Mohammed, Mohammed Malas, Hala Al Abdallah, Hanna Ward, Ali Atassi and Omar Amiralay. Joshka Wessels traces how the works of these filmmakers became iconic for a new generation of filmmakers at the beginning of the 21st century and maps the radical change in the documentary landscape after the revolution of 2011. Special attention is paid to the late Syrian filmmaker and pro-democracy activist, Bassel Shehadeh, and the video-resistance from Aleppo and Raqqa against the regime of President Bashar al-Assad and the Islamic State." (Publisher description)
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"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
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sarily translate into doing? Whether such access can be directly linked to changes in international policy-making processes remains undecided. Indeed, there is plenty of evidence to suggest that changes in the technical capacity to gather evidence have had negligible effect on states' willingness to intervene in mass atrocity events. Syria, for example, has been mapped, photographed and crowdsourced in detail for (as of this writing) seven years, yet the war there is expected to continue for years more. Reported war crimes have so far had no clear, unequivocal effect on policy. The use of chemical weapons by the Syrian military underscores the point." (Pages 569-570)
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"Visual Imagery and Human Rights Practice examines the interplay between images and human rights, addressing how, when, and to what ends visuals are becoming a more central means through which human rights claims receive recognition and restitution. The collection argues that accounting for how imag
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es work on their own terms is an ever more important epistemological project for fostering the imaginative scope of human rights and its purchase on reality. Interdisciplinary in nature, this timely volume brings together voices of scholars and practitioners from around the world, making a valuable contribution to the study of media and human rights while tackling the growing role of visuals across cultural, social, political and legal structures." (Publisher description)
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"The goal of the Field Guide is to provide methods for filmers to use so that their videos can be as valuable as possible in exposing abuse and bringing about justice. This resource will help ensure that more cameras in more hands can lead to more exposure and greater justice. Activists producing fo
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otage that they hope will be used not only by journalists but also by investigators and court rooms must consider these fundamental questions: Is it clear where and when the video was filmed? Can this video be verified? Has it been tampered with or edited? Is the footage relevant to a human rights crime? Can the video’s chain of custody be proved? Would its helpfulness in securing justice outweigh its potential to undermine justice? These are some of the issues we explore throughout the guide while providing practical guidance on addressing them." (Page 5)
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