"Este trabajo tiene como objetivo central el análisis de dos proyectos transmedia latinoamericanos en el marco de la no ficción, circunscritos desde el método del estudio de casos y la aplicación de elementos de la teoría del actor-red, donde las relaciones, la conformación de grupos sociales
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que experimentaron realidades, llegan a gestar el valor de agenciamiento, como un enfoque que expande y contribuye a la comprensión y sostenibilidad de la historia y la experiencia en el tiempo del proyecto transmedia. El nivel de impacto en la audiencia de estos dos sistemas narrativos [Proyecto Quipu, Peru; Proyecto 4Ríos, Colombia] permitió apuntalar sus realidades desde la articulación de acciones de lucha social dentro y fuera de la red, ubicando sus temáticas en agendas políticas y periodísticas locales e internacionales. Impactos que se retoman a la luz de las características de los formatos de la transmedia de no ficción y sus potencialidades cocreativas, con el fin de dinamizar las relaciones sociales y activar la comunicación participativa dentro del ecosistema digital." (Resumen)
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"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
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y shape the politics and culture of memory in contemporary China. Allowing for the dimensions of history and different mediating spaces, the authors first conduct textual analysis of news reports from traditional media since the event took place, revealing that the significance of the massacre was initially portrayed as a local incident before its construction as a national trauma and finally a collective memory. In a study of physical and online memorial spaces, including the Memorial Hall, commemorative activities on the Internet and new media platforms, the book unveils the production and reproduction of trauma narratives as well as how these narratives have been challenged. The final part further studies the interactions between media and other institutional settings while exploring issues of global memory and reconciliation in East Asia." (Publisher description)
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"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
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frequently beyond the sphere of medical, legal, or state intervention. To address these different, often intertwined modes of language, the contributors provide a variety of disciplinary approaches to foster innovative debates and provoke new insights. Prevailing definitions of trauma can best be understood according to the cultural and historical conditions within which they exist. Languages of Trauma explores what this means in practice by scrutinizing varied historical moments from the First World War onwards and particular cultural contexts from across Europe, the United States, Asia, and Africa – striving to help decolonize the traditional Western-centred history of trauma, dissolving it into multifaceted transnational histories of trauma cultures." (Publisher description)
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"Die Debatten um die Anerkennung des Ovaherero- und Nama-Genozids (1904-1908) im heutigen Namibia haben in den letzten beiden Jahrzehnten wachsende öffentliche Aufmerksamkeit erhalten. Kaya de Wolff hat die deutschsprachige Presseberichterstattung in den Jahren 2001 bis 2016 über den Umgang mit de
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n Verbrechen deutscher Kolonialtruppen untersucht. Sie zeigt, aufgrund welcher Anlässe und auf welche Weisen medial an die historischen Ereignisse erinnert wird, welche Stimmen dabei (nicht) gehört werden und welche gesellschaftlichen Machtverhältnisse und Normen den Anerkennungskampf der Nachfahr*innen der Opfer bedingen." (Verlagsbeschreibung)
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"Este libro es –nunca mejor dicho– el resultado de una memoria selectiva. Sus 19 títulos dan cuenta de un ciclo que cierra una etapa inicial del Seminario Pensar lo Real como espacio de reflexión en torno a ‘lo documental’. Estuvo inspirado en el espíritu de Pensar el documental, un encue
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ntro sin duda iniciático, organizado por el Ministerio de Cultura de Colombia en 1998. El encuentro que tuvo como invitados a Patricio Guzmán, Anne Baudry, Nicolás Philibert, Óscar Campo y Marta Rodríguez, entre otros destacados cineastas, tuvo el mérito de impulsar la creación de Alados y, a su vez, de la mano de lo que es hoy una asociación pionera de documentalistas en América Latina, abrió paso a lo que sería durante estas dos décadas1 el largo proceso de consolidación de una Muestra Internacional Documental de Bogotá - MIDBO." (Descripción de la casa editorial)
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"La mediática de la guerra y la paz consta de cuatro ensayos que estudian los discursos, las imágenes y la comunicación durante los años del proceso de paz en Colombia (2012-2016). La investigación principal es de Valeria Parra Gregory, politóloga y periodista, quien aborda las palabras mediat
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izadas durante estos diálogos. El texto de Omar Rincón, ensayista y profesor de la Universidad de los Andes, reflexiona sobre la figura de Santos y sus modos erroristas de habitar comunicativamente la paz. El análisis de Jorge Bonilla, estudioso de los medios de comunicación y profesor de la Universidad EAFIT, nos recuerda que para lograr la reconciliación debemos mirarnos en el horror que habita las imágenes. Y, finalmente, Rousbeh Legatis, experto internacionalista, nos lleva a comprender cómo desde la mediática se construye colectiva y solidariamente la paz." (Cubierta del libro)
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"Perpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. While past films documenting the Holocaust and genocides in Yugoslavia, Rwanda, and elsewhere have focused on collecting
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and foregrounding the testimony of survivors and victims, the intimate horror of the autogenocide enables post-Khmer Rouge Cambodian documentarians to propose a direct confrontation between the first-generation survivor and the perpetrator of genocide. These films break with Western tradition and disrupt the political view that reconciliation is the only legitimate response to atrocities of the past. Rather, transcending the perpetrator's typical denial or partial confession, this extraordinary form of "duel" documentary creates confrontational tension and opens up the possibility of a transformation in power relations, allowing viewers to access feelings of moral resentment. Raya Morag examines works by Rithy Panh, Rob Lemkin and Thet Sambath, and Lida Chan and Guillaume Suon, among others, to uncover the ways in which filmmakers endeavor to allow the survivors' moral status and courage to guide viewers to a new, more complete understanding of the processes of coming to terms with the past. These documentaries show how moral resentment becomes a way to experience, symbolize, judge, and finally incorporate evil into a system of ethics. Morag's analysis reveals how perpetrator cinema provides new epistemic tools and propels the recent social-cultural-psychological shift from the era of the witness to the era of the perpetrator." (Publisher description)
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"This volume explores the shifting tides of how political violence is memorialized in today's decentralized, digital era. The book enhances our understanding of how the digital turn is changing the ways that we remember, interpret, and memorialize the past. It also raises practical and ethical quest
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ions of how we should utilize these tools and study their impacts. Cases covered include memorialization efforts related to the genocides in Rwanda, Cambodia, Europe (the Holocaust), and Armenia; to non-genocidal violence in Haiti, and the Portuguese Colonial War on the African Continent; and of the September 11 attacks on the United States." (Publisher description)
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"As the revolutions across the Arab world that came to a head in 2011 devolved into civil war and military coup, representation and history acquired a renewed and contested urgency. The capacities of the internet have enabled sharing and archiving in an unprecedented fashion. Yet, at the same time,
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these facilities institute a globally dispersed reinforcement and recalibration of power, turning memory and knowledge into commodified and copyrighted goods. In The Arab Archive: Mediated Memories and Digital Flows, activists, artists, filmmakers, producers, and scholars examine which images of struggle have been created, bought, sold, repurposed, denounced, and expunged. As a whole, these cultural productions constitute an archive whose formats are as diverse as digital repositories looked after by activists, found footage art documentaries, Facebook archive pages, art exhibits, doctoral research projects, and ‘controversial’ or ‘violent’ protest videos that are abruptly removed from YouTube at the click of a mouse by sub-contracted employees thousands of kilometers from where they were uploaded. The Arab Archive investigates the local, regional, and international forces that determine what materials, and therefore which pasts, we can access and remember, and, conversely, which pasts get erased and forgotten." (Back cover)
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"La Cátedra Unesco de Comunicación en su XXV edición se diseñó como un espacio para reflexionar sobre comunicación, información y lenguajes de la memoria. Con esa perspectiva, se consideró fundamental analizar el papel de la ciencia de la información en los procesos de recuperación, preser
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vación y divulgación de la memoria colectiva. En segundo lugar, desde los estudios del lenguaje, se buscó construir una agenda de investigación orientada a la generación de saberes pertinentes y el fomento de prácticas de intervención social que apuntaran a la recuperación de narrativas olvidadas o aún no contadas que, en conjunto, permitieran reconstruir la memoria del país. Y, en tercer lugar, analizar los procesos de representación, circulación y apropiación social del conocimiento que sobre la memoria se vienen realizando desde la comunicación social, el periodismo y áreas afines. Este libro compila, en la primera parte, doce textos de los conferencistas y panelistas que participaron en la Cátedra y, en la segunda parte, se incluyen los resúmenes de las ponencias presentadas en nueve grupos temáticos de trabajo, en los que participaron miembros de diversas universidades, estudiantes, profesores, investigadores y activistas sociales de todo el país." (Cubierta del libro)
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"This book explores the nexus of media and memory practices in contemporary Slovenia. In the age of mediatised societies, the country’s post-socialist, post-Yugoslav present has become saturated with historical revisionism and various nostalgic framings of the past. Pušnik and Luthar have collect
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ed a wide range of case studies analysing the representation and reinterpretation of past events in newspapers, theatre, music, museums, digital media, and documentaries. The volume thus presents insights into the intricacies of the mediatisation of memory in contemporary Slovenian society. The authors engage with dynamic uses of media today and provide new analyses of media culture as archive, site of historical reinterpretation, and repository of memory." (Publisher description)
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"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
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appropriate, this book offers a fresh approach that considers how some of the kitsch strategies employed in these works facilitate an affective interaction with the genocide narrative. These productive strategies include the use of the visual metaphors of the animal and the doll figure and the explicit and excessive depictions of mass violence. The book also analyses where kitsch still produces problems as it critically examines depictions of perpetrators and the visual and verbal representations of sexual violence. Furthermore, it explores how graphic novels employ anti-kitsch strategies to avoid the dangers of excess in dealing with genocide." (Publisher description)
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"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,
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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)
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"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
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fendants draws meaning mainly from sequences of images displaying victims, war destruction or attacks as “palpable” proof of crimes. This supports a sentiment of collective victimhood of the Serb population and creates the impression of the indicted persons’ guilt even after their acquittals by the International Criminal Tribunal for the former Yugoslavia (ICTY). Since the research project has been limited to three Serb TV channels, comparative work on TV media in other states of former Yugoslavia would be required in order to assess how ’special’ the case of Serbia is regarding these visual strategies. The much disputed legitimacy of the ICTY and the important role of media have also become obvious in focus groups interviews with students in Serbia: The students displayed a striking lack of knowledge about war crimes; nonetheless, they strongly rejected the ICTY as a biased institution. At the same time, they were perceptive of new facts and interpretations, showing that they have a genuine need to understand the past and obtain objective information. A major problem is that in their perception there are few, if any, objective, neutral institutions which to put trust in. The expert interviews, conducted in Belgrade and The Hague, underlined the critical state of mainstream TV media in Serbia: They were assessed as not really independent, driven by entertainment formats, suspect to governmental pressure and failing in their watchdog functions. The interviewees also expressed a widespread disappointment about the state of affairs of transitional justice in Serbia." (Summary)
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"Queremos entender la comunicación y el acceso a la información como medios para la conquista de otros derechos. Hay innumerables rutas que podríamos tomar para llegar a este destino; la elegida acá es la que entiende la comunicación como un ecosistema complejo que debe estar imbricado en la co
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ncepción, ejecución y retroalimentación de las políticas públicas. Piense en una política pública cualquiera. En una democracia, ¿cuál es el momento T0 de esta política pública? La respuesta es el proceso electoral. Es allí donde la sociedad decide cuáles propuestas quiere ver implementadas y cuáles no. ¿Hay comunicación en esta etapa? ¿Y el momento T1? Una vez electos, los tomadores de decisiones deben empezar el proceso de planificación de las políticas que van a implementar. De nuevo, ¿está presente la comunicación aquí? Y continuemos… T2: aprobación legislativa. T3: implementación/ejecución. T4: monitoreo y evaluación. T5: retroalimentación y reinicio del ciclo electoral. En cada una de las etapas del diseño e implementación de una política pública cualquiera, hay palabras clave presentes: información, participación, diálogo, empoderamiento, mitigación de riesgos, corrección de rumbos, rendición de cuentas… En todos estos quehaceres hay robustos aspectos comunicativos y de acceso a la información. A estas alturas, usted, lector juicioso, se estará preguntando: ¿por qué todo este esfuerzo para subrayar lo obvio? Y es aquí donde reside el segundo pilar de esta caja de herramientas y estrategias: aunque parezca evidente, la comunicación, comprendida en su complejidad, diversidad y amplitud, debe estar incorporada en la ruta integral de las políticas públicas; cambiar este escenario es central para la eficiencia misma de las políticas que buscamos implementar." (Introducción, página 8-9)
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