"Als Selfie oder im politischen Prozess, als gleichermaßen fluide wie langlebige Postings, in verstörenden Hassbildern oder als Labor des Feminismus wirken digitale Bilder in je eigenen Kontexten: Menschen inszenieren sich und werden inszeniert, vernetzen und bekämpfen sich, posieren und protesti
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eren, verfremden, ringen um Anerkennung, Deutungshoheiten und Aneignungen. Digitale Bilder brechen Normen auf, spiegeln oder verschleiern Realitäten, sind Propaganda oder Vehikel politischer Veränderungen, spalten Gegner, verbinden Gleichgesinnte oder fungieren als Glutnester von Hass und Menschenfeindlichkeit. Zugleich wirken all diese Formen visualisierter sozialer Handlungen als Katalysatoren gesellschaftlicher Prozesse, die ihrerseits wieder Dynamiken anstoßen. Die Autorinnen und Autoren beleuchten in fünf Beiträgen Formen, Absichten und Wirkungen digitaler Bildkulturen: den Bildprotest, den Screenshot, das Hassbild, den Netzfeminismus und das Selfie." (Buchrücken)
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"This volume offers a comprehensive discussion of Media Memory and brings Media and Mediation to the forefront of Collective Memory research. The essays explore a diversity of media technologies (television, radio, film and new media), genres (news, fiction, documentaries) and contexts (US, UK, Spai
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n, Nigeria, Germany and the Middle East)." (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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"According to recent reports on violence committed against journalists, journalism is a dangerous, fear-inspiring job. In the wake of Daniel Pearl’s kidnapping and murder in January 2002 and the less-publicized but equally brutal killings of journalists in Bangladesh, the Philippines, the wars in
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Afghanistan and Iraq, and other locales around the world, the international community of foreign correspondents has become particularly concerned for its safety in zones of conflict. Yet, outside of war zones, and in U.S. newsrooms in particular, reporters and news photographers who cover domestic beats and work on general assignment are also being represented, through risks to their safety and mental health on the job, in ways that depict what John Durham Peters calls ‘the weighty baggage of witnessing’: the ontological and historical weight of paying witness to events that ‘makes explicit the pervasive link between witnessing and suffering’ and ‘what it means to watch, to narrate or to be present at an event’ (2001, pp. 708–9)." (Abstract)
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