Search results

This collection interrogates the representation of humanitarian crisis and catastrophe, and the refraction of humanitarian intervention and action, from the mid-twentieth century to the present, across a diverse range of media forms: traditional and contemporary screen media (film, television and online video) as well as newspapers, memoirs, music festivals and social media platforms (such as Facebook, YouTube and Flickr). The book thus explores the historical, cultural and political contexts that have shaped the mediation of humanitarian relationships since the middle of the twentieth century. Together, the chapters illustrate the continuities and connections, as well as the differences, which have characterised the mediatisation of both states of emergency and acts of amelioration. The authors reveal and explore the significant synergies between the humanitarian enterprise, the endeavour to alleviate the suffering of particular groups, and media representations, and their modes of addressing and appealing to specific publics. The chapters consider the ways in which media texts, technologies and practices reflect and shape the shifting moral, political, ethical, rhetorical, ideological and material dimensions of international humanitarian emergency and intervention, and have become integral to the changing relationships between organisations, institutions, governments, individual actors and entire sectors.

’ children by purchasing environmentally friendly products, or we might act against child labour practices in ‘distant’ nations by purchasing garments manufactured by particular companies. These practices raise several questions of a global humanitarianism for children. Can the intent to protect ‘our’ children extend to a more universalised impulse to protect ‘other’, more distant children? What are the limitations of

in Global humanitarianism and media culture
Open Access (free)

such as Jonathan Benthall and Kevin Rozario suggest that global humanitarianism acquired its distinctive contemporary ethos and form in the West with the founding of the International Committee of the Red Cross in 1863, and subsequently with the work of the American Red Cross during the First World War. 8 However, humanitarianism underwent a significant shift in the aftermath of the Second World War. Craig Calhoun, for example, claims the civilian

in Global humanitarianism and media culture
Open Access (free)
Television and the politics of British humanitarianism

the NGOs represented on the DEC, which consolidated the latter as the most influential actors in their sector. The perception of the film as a new phenomenon in broadcasting also foreshadowed what would become a familiar trend in global humanitarianism, of single television news bulletins or programmes galvanising massive international public responses. This reality was not lost on the largest aid agencies, and it

in Global humanitarianism and media culture

work by aid agencies and their close relationship with journalists. Simon Cottle and David Nolan claim that, ‘These developments imperil the very ethics and project of global humanitarianism that aid agencies historically have done so much to promote’. 10 Glenda Cooper also questions the editorial integrity of journalists working with aid agencies: ‘While journalists – if sometimes imperfectly – work on the principle of

in Global humanitarianism and media culture
Grassroots exceptionalism in humanitarian memoir

founder, who theoretically serves as the naive axis of change. This was made possible as the ideology of self-help came to challenge that of aid in international development, turning the micro-borrower into the figure par excellence of global humanitarianism. In this context Yunus’s memoir serves the important function of appropriating for the micro-lender and his institution the borrower’s naive appeal

in Global humanitarianism and media culture
The Marshall Plan films about Greece

A growing number of studies have argued for a historical and historicised understanding of global humanitarianism and humanitarian intervention. 1 However, the history of the interdependence of humanitarianism with media campaigns and the wider visual culture of each period remains an underexplored field, as the few studies in this area highlight. 2 The Marshall Plan films stand for a landmark

in Global humanitarianism and media culture
Juvenile actors and humanitarian sentiment in the 1940s

new era of global humanitarianism. Raymond Williams described ‘structures of feeling’ as ‘affective elements of consciousness and relationships: not feeling against thought, but thought as felt and feeling as thought: practical consciousness of a present kind, in a living and interrelating community’. 4 A humanitarian ‘structure of feeling’ crystallises around an affective beholding of a group of displaced and dispossessed

in Global humanitarianism and media culture
From starving children to satirical saviours

This chapter examines how the development of social media sites, such as Facebook and Twitter, has changed humanitarian NGOs’ media practices and subsequently altered the ways that supporters and publics are engaged. The chapter contributes an understanding of how people participate in these differing narratives on Facebook, and considers ‘everyday’ humanitarian actions so as to address the engagement that is often excluded in political discourses that focus on institutional politics. Facebook algorithms, along with the architects of Facebook, have now become the new ‘gatekeepers’ of humanitarian communication and NGOs have started to adapt their visual depictions of humanitarianism. In particular, this chapter proposes that the Facebook ‘like’, and users’ interaction online, changes the visual communication used by contributing to the governance of visibility.

in Global humanitarianism and media culture
Offline and online games, branding and humanitarianism at the Roskilde Festival

This chapter asks whether it is possible to harness the powers of ‘the popular’ and media culture in the service of humanitarianism. There is a need to critically balance an analysis of the potentially progressive and/or problematic aspects of a popularised humanitarian event. Exploring the energies that are at play in the popular ‘carnival’ of the Danish Roskilde Festival, this chapter examines how the carnivalesque can function both as a form of corporate branding and as a means to destabilise the status quo identified with a negatively branded segment of the population. The chapter also analyses the expansion of the festival into cyberspace, and the offline–online interconnectivity of the festvial’s humanitarian events

in Global humanitarianism and media culture