"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
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Congo, Laura Edmondson explores performance through the lens of empire. Instead of celebrating theatre productions as expression of cultural agency and resilience, Edmondson traces their humanitarian imperatives to a place where global narratives of violence take precedence over local traditions and audiences. Working at the intersection of performance and trauma, Edmondson reveals how artists and cultural workers manipulate narratives in the shadow of empire and how empire, in turn, infiltrates creative capacities." (Publisher description)
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"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
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ubgenre: the trauma graphic novel. This book seeks to analyze this trend through the consideration of five influential graphic novels in English. Works by Paul Hornschemeier, Joe Sacco, Art Spiegelman, and Alan Moore and Dave Gibbons will be considered as illustrative examples of the representation of individual, collective, and political traumas." (Publisher description)
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"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
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ework of my research project on the concept of digital trauma processing, entitled “Trauma Studies in the Digital Age: The Impact of Social Media on Trauma Processing in Life Narratives and Trauma Literature: the Case of Hungary.” I show how the concept of trauma and trauma processing itself are changing in the digital age as a consequence of the element of sharing (in posts and comments in digital media) gains more importance and thus counteracts the element of silence, which was considered the most important element of trauma on several levels. How does digital sharing of memories of traumas help unblock previously blocked avenues to the past, and how does it contribute to the processing of collective historical traumas and consequently to the mobilization of memories, modernization, and the transformation of identities? I examine how the given characteristics of the different types of Facebook groups, public or closed, influence the ways in which people communicate about a collective historical trauma. I touch upon the issue of research ethics in connection with the handling of sensitive data in social media research. I examine the book The Holocaust and My Family, a collection of posts from the group, and analyze as a case study a post and the related comments, in which a descendant of a perpetrator comes out in the group." (Abstract)
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"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
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ychological consequences of witnessing extreme suffering. The audience interpret the news according to their circumstance, be it with anger sympathy or with compassion-fatigued indifference. The book explores that reaction, which is always more nuanced than anticipated. Finally, the modern communication circle is completed by exploring the potential of the media to diminish conflict. This is demonstrated by the media bringing together communities that are either geographically or historically divided." (Publisher description)
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"This edited collection provides a comprehensive overview of ethical issues associated with visual research methods. Considering the work of researchers across a range of disciplines using visual methods in research, it offers practical and thoughtful discussions of emerging methodological and ethic
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al dilemmas in innovative projects using visual methods, either in combination with other methods or as a stand-alone method to answer new kinds of research questions. Both synthesizing central themes and addressing ethical issues particularly relevant to specific research topics, in various settings and from various disciplinary perspectives, it considers how researchers navigate and conceptualise ethical issues. With contributions discussing research conducted in Australia, Argentina, Canada, India, Korea, Norway and the United Kingdom, the book's international scope, disciplinary breadth and the range of methods and research contexts addressed will notably appeal to those seeking to understand the value, and potential ethical risks, of visual methodologies for social research." (Publisher description)
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"The aim of the present book is to provide both empirical and theoretical input to the discussions of the role of journalism and media in conflict and post-conflict situations and in the often rather muddy waters between them. Together, the contributions to this book from different parts of the worl
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d emphasise that discussions about post-conflict situations will gain from including the media. At the same time, the contributions problematise the concept of post-conflict and powerfully illustrate that the phase between war/conflict and peace is neither unidirectional nor linear, as the use of the concept sometimes seems to imply. Reaching a peace agreement or arranging for the termination of hostilities is, in itself, no guarantee that peace can be secured. The examples from Afghanistan, Colombia and South Sudan in this book show this up clearly. Remaining post-conflict societal friction may even be as threatening to long-lasting peace as the war itself. Hence, post-conflict may be seen as a “conflict situation in which open warfare has come to an end. However, such situations remain tense for years or decades and can easily relapse into large-scale violence” (Junne and Verkoren 2005)." (Introduction, pages 16-17)
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"Through the narratives and movements of survivors of the war in Lanka these interconnected essays develop the concept of 'survival media' as embodied and expressive forms of mobility across borders." (Publisher description)
"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
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cted or excluded, but traumatic memory poses special problems in this regard. Andrew Hoskins and John Sutton, the series editors, suggest that the question of how we remember has become central to historical enquiry, but the question itself is fraught with complexity. Generational change and new technologies of memory are reshaping the ways in which memory works, and the influence of trauma narratives is a factor in this. They pose another question: ‘What is “memory” under such conditions?’ Here, we focus on the distance between traumatic narratives in the public domain, and the experience of traumatic recall in the mind of a person who has been directly affected by extreme events." (Introduction, page 1)
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"Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas such as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of
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filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners." (Publisher description)
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"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
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thquake, and a war can all be traumatic events. In this guide, we will focus on trauma caused by violence – civil or political unrest, war, genocide, communal violence, domestic violence, and sexual violence. Experiencing a traumatic event affects survivors in many ways. Journalists should be aware of these effects because they will also affect how journalists can – and should – work. This guide will give working journalists concrete tools for understanding the effects of trauma and for conducting sensitive reporting and writing on trauma stories. It is written for group use and for self-study." (Page 2)
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"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
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such coverage on the victims, their families and loved ones, their communities, and on the journalists whose job it is to tell these stories. Trauma Journalism personalizes this movement with in-depth profiles of reporters, researchers and trauma experts engaged in an international effort to transform how the media work under the most difficult of conditions. Through biographical sketches concerning several significant traumatic events (Oklahoma City bombing, Columbine school tragedy, 9/11, Iraq War, the South Asian tsunami, Hurricane Katrina), students and working reporters will gain insights into the critical components of contemporary journalism practices affecting news judgment, news gathering techniques, as well as legal and ethical issues. Trauma Journalism calls for the creation – through ongoing education – of a culture of caring among journalists worldwide." (Publisher description)
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"This book provides the first comprehensive account of trauma as a critical concept in the study of modern visual media, from Freud to the present day, explaining how contemporary trauma studies emerged from research on Holocaust representation in which the audiovisual testimony of survivors was pos
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ed as an authentic alternative to popular television and film dramatizations. It argues that the media coverage of 9/11 and the subsequent ‘war on terror,’ however, has revealed how the formation of communities of witness and commemoration around ‘traumatic events’ can perpetuate violence and inequality. The book explains how Benjamin, Adorno and Barthes, drawing from psychoanalysis, analyzed the roles of fantasy, ideology and collective identification in mass media, and began to understand trauma as an authentic experience of modernity. It proposes that the insights of these earlier theorists, along with more recent arguments by Derrida, Agamben and Zizek, continue to provide important perspectives on today’s politics of mediated shock and terror." (Publisher description)
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"In describing their understanding of trauma, disaster, and conflict photography, photojournalists in this qualitative study conceptualized abstract experiences using specific types of metaphors. Their metaphors focused on concepts such as violence, bewilderment, and health/affliction. The unique as
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pect of these metaphors was how they were reflective of aspects of journalism culture and the work of trauma photography. Through a metaphorical analysis of these figurative expressions, I show how metaphors construct a conceptual system of understanding the work of trauma photography and occupational identity, as well as influence the formation of the culture of journalism itself. Understanding this metaphorical picture may add to our knowledge about how traumatic stress injuries are recognized, managed, and aided in newsrooms." (Abstract)
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"The essays collected in this book follow a contemporary critical trend in the field of trauma studies that reflects comparatively on artistic and media representations of traumatic histories and experiences from countries around the world. Focusing on a diversity of art and media forms—including
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memorials, literature, visual and installation art, music, video, film, and journalism—they both apply dominant theories of trauma and explore the former’s limitations while bearing in mind other possible methodologies." (Publisher description)
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"From the Holocaust to 9/11, modern communications systems have incessantly exposed us to reports of distant and horrifying events, experienced by strangers, and brought to us through media technologies. In this book leading scholars explore key questions concerning the truth status and broader impl
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ications of 'media witnessing'." (Publisher description)
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"Trauma is at the heart of news — and of the human condition. How it’s reported gives those who weren’t there their first understanding of what a traumatic event means. Personally. For their families and loved-ones. For their community and their nation. Indeed, for the world as a whole. The jo
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urnalism of trauma matters, and journalists have a profound responsibility to tell the story well. Their work can reflect, reinforce, and calm — or exacerbate — the grief and distress that ripples out from death and injury. Covering trauma, whether major international stories or events much closer to home, can also have an impact on those who do the reporting. Like the police, the fire and medical services, like military personnel and rescue workers, journalists are professional first responders to crisis and disaster. But they’re among the last of those groups to recognise the psychological implications of that responsibility. Just as sports reporters and financial journalists don’t open a notebook without a professional knowledge of their field, neither should those who report violence and tragedy. This handbook is the fruit of a Dart Centre consultation with journalists across the world, and it distils the expertise of the best international trauma experts." (Introduction)
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"Now in its second edition, Covering Violence remains a crucial guide for becoming a sensitive and responsible reporter. Discussing such topics as rape and the ethics of interviewing children, the book gives students and journalists a detailed understanding of what is happening "on the scene" of a v
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iolent event, including where a reporter can go safely and legally, how to obtain the most useful information, and how best to interview and photograph victims and witnesses. This second edition takes our turbulent postmillennium history into account and emphasizes the consequences of frequent exposure to traumatic events. It offers new chapters on 9/11 and terrorism, the Columbine school shootings, and the photographing of violent events, as well as additional profiles of Vietnamese American, Native American, and African American journalists." (Publisher description)
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"When children are victims of violence, journalists have a responsibility to report the truth with compassion and sensitivity. Kids aren’t mini-adults; they deserve special consideration when they end up in the news. Yet few journalists have experience interviewing children for routine stories, le
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t alone when tragedy hits. What ground rules apply? Is it OK to interview children huddled outside a school after a classmate has gunned down a teacher? At the hospital after a car accident? Should you name child abuse victims in news coverage? Juveniles who commit crimes? How do you balance children’s right to privacy with telling compelling stories? Exposure to violence affects children and adults differently. But kids are just as vulnerable to post-traumatic stress and other emotional consequences of violence and tragedy. Journalists can write stories that help educate parents about how to recognize emotional trauma in their children. They can foster community healing by interviewing families putting their lives back together after a disaster. Editors can weigh the impact of graphic visual images on young readers when deciding what to publish or broadcast." (Page 2)
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"Whether clinicians like it or not, children and families affected by trauma are routinely covered by the media. When that happens, clinicians often face difficult choices [...] Audiences are powerfully affected when direct information comes from children, adolescents or family members. Yet balancin
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g the needs and expectations of survivors, journalists and the public can be complex. By working collaboratively with the media, we can better ensure that the stories of children and families are told responsibly and effectively lead to increased public awareness about the impact of exposure to trauma. This guide is designed to help you be more effective in working with survivors and the media:
• Victims and families: How can you help victims and families who are approached by the media or want to approach the media?
• Journalists: How can you be more helpful as a news source?
• Community: How can you improve community knowledge about trauma and trauma-focused programs for children?" (Introduction)
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"The goal of this best practices guide is not to provide a template for trauma reporting, although the specific examples should be useful for journalists working on similar stories or faced with similar ethical dilemmas related to trauma reporting. The goal is to help journalists produce professiona
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l, insightful, informative, ethical and engaging stories about difficult subject matter by using other journalists’ successful ideas, insights and experiences as an inspirational guide. Of course, each journalist writing about trauma will find his or her own voice and perspective when crafting the story. But that voice and perspective may be informed by the voices and perspectives of those who have already engaged in the process effectively. The following section discusses narrative elements and other considerations that reporters should keep in mind when writing about violence and trauma. Some of these elements are presented as best practices examples. Other elements are more explicitly presented as suggestions or recommendations." (Page 4)
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