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Wazhmah Osman

Current History, volume 121, issue 834 (2022), pp. 135-140

"This article traces how the Afghan cultural, media, and arts sectors have gone through cycles of boom and bust in tandem with the country’s tumultuous history in recent decades, starting with the prewar golden era in the 1960s and 1970s, then focusing on the post-9/11 internationally funded media ... more

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Television and the Afghan Culture Wars

Wazhmah Osman

Urbana: University of Illinois Press (2020), 288 pp.

"Fieldwork from across Afghanistan allowed Osman to record the voices of Afghan media producers and people from all sectors of society. In this moving work, Afghans offer their own seldom-heard views on the country's cultural progress and belief sy ... more

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Between the White House and the Kremlin: A Comparative Analysis of Afghan and Tajik Media

Wazhmah Osman

International Journal of Communication, volume 13 (2019), pp. 619-641

"In their postwar, postindependence, and post-Soviet moments, why did two neighbors, Afghanistan and Tajikistan, who share cultural, linguistic, and historical similarities, take radically divergent paths in the development of their mass media, public sphere, and democracy? In this article, I argue ... more

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Global Digital Cultures: Perspectives from South Asia

Aswin Punathambekar, Sriram Mohan (eds.)

Ann Arbor: University of Michigan Press (2019), viii, 317 pp.

"Digital media histories are part of a global network, and South Asia is a key nexus in shaping the trajectory of digital media in the twenty-first century. Digital platforms like Facebook, WhatsApp, and others are deeply embedded in the daily lives of millions of people around the world, shaping ho ... more

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Brought to You by Foreigners, Warlords, and Local Activists: TV and the Afghan Culture Wars

Wazhmah Osman

In: Modern Afghanistan: The Impact of 40 Years of War

M. Nazif Shahrani (ed.)

Bloomington, IN: Indiana University Press (2018), pp. 149-176

"Without a doubt, the combined power of the public arena and broadcast media is a very efective social tool for collective action in Afghanistan. Yet there are serious limits to both the media’s self-advocacy and the public’s strong and unwavering support. Te media-related crimes and murders men ... tioned in this chapter are a few of the many. Yet no arrests are made and no one is prosecuted in most of these cases. Zoorawarah can continue to censor media makers with impunity and without fears of retribution. Broadcasting the incidents of violence and censorship against media personnel and the media writ large, as well as the subsequent protests and production of investigative and expository programs is indeed generative in creating dialogue and raising awareness about media rights and the important role of a free media in a society, but it is clearly not enough. Tus far, we have seen examples of two types of potential cultural imperialism. By aggressively promoting and offering their own media products, programs, and formats, at little or no cost, the argument can be made that foreign countries are impeding the development of Afghanistan’s own media industry, artistry, and media crafts. Additionally, we have seen examples of censorship, both from endogenous and exogenous forces, ranging from pressuring the government to ban programming or directly pressuring producers to do so. In extreme cases, we have seen an egregious third form of censorship becoming prevalent in Afghanistan. High-level media personnel and wealthy media owners who are ofen prominent public fgures, such as politicians, warlords, drug lords, religious leaders, and businessmen, hire body guards and live behind gated fortress mansions, while low-level television personalities and reporters are subjected to threats, physical attacks, and death for providing people with programming they want to watch and which gives them a platform to raise their voices. Hence, it is the mid- and low-level media professionals, not the owners of the television stations they work for nor the foreign governments that are the patrons of the stations, who bear the ultimate burden of media freedom and reform in Afghanistan. Caught between warring ideologies that range from Islamist to commercial to “developmentalist,” as brave as these Afghan media personalities and journalists are, and despite their high media a profile, their low socioeconomic status leaves them vulnerable to abuse and possible death." (Conclusion, page 168-169) more

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On Media, Social Movements, and Uprisings: Lessons from Afghanistan, Its Neighbors, and Beyond

Wazhmah Osman

Signs: Journal of Women in Culture and Society, volume 39, issue 4 (2014), pp. 874-887

"From Tehran to Tahrir Square to Gezi Park-to mention only three key sites of protest made prominent in 2013-social media has been lauded as one of the key factors enabling popular uprisings and social movements. This has provided further hype for new or digital media, which were already being toute ... more

Transformations in Afghan Media and Culture Through Cycles of Upheaval

Television and the Afghan Culture Wars

Between the White House and the Kremlin: A Comparative Analysis of Afghan and Tajik Media

Global Digital Cultures: Perspectives from South Asia

Brought to You by Foreigners, Warlords, and Local Activists: TV and the Afghan Culture Wars

On Media, Social Movements, and Uprisings: Lessons from Afghanistan, Its Neighbors, and Beyond