A visual analysis of four frames of representation of ‘refugeeness’ in Swedish newspapers
Images of crisis and the crisis of images:
a visual analysis of four frames of
representation of ‘refugeeness’ in
The period 2015–2016 in Sweden (and beyond) became largely known as
the refugee crisis – a construct readily associated with a negative event or
a destabilizing period of time, which can affect both individuals and larger
groups and societies. The term crisis came alongside the word ‘refugee’ – a
pairing which is particularly loaded and comes with highly problematic
political impositions. For example, how did
anthropology in Basilicata (see chapter 7 ). In combination with the accompanying texts and sounds, the aim of these images is to evoke the manner in which, with varying degrees of consciousness, people in contemporary Basilicata perform cultural heritage at the same time as performing acts of religious devotion.
As is evident throughout the associated sound-chapter, music is ever present at wheat festivals, and many of the offerings dance with their carriers to the sound of tarantelle . Dancing with the wheat offerings is a form of sonic devotion not unlike those
Contemporary ‘British’ cinema and the nation’s monarchs
contemporary experience and projection of British national identity and
ideas of nationhood.
These stories and characters are also of course endlessly
recycled in the present period in other media as well as through the
heritage industry. The monarchy, its history and its present
manifestation, is clearly highly marketable, whether in terms of
tourism, the trade in royal memorabilia or artefacts, or images of
Braving the Ottoman‘s ban on capturing any images of the persecuted Armenians, witnesses
dodged censorship and photographed pictures that would later be branded as proofat the
Paris Peace Conference in 1919–20. Despite the challenge of these images to
representations of the Armenian genocide, they were soon forgotten after the 1923 Treaty
of Lausanne erased the Armenian Question, while time took care of destroying the corpses
abandoned in the desert. This article will examine the image-disappearance dialectic
through distinct temporalities of remembrance,and commemoration, each of which mobilises
its own specific, iconographical semantics. In response to contemporary challenges, the
repertoire of images has not remained sealed; over the last decade it has been reopened
through depictions of bare landscapes and stretches of desert and bones,that suddenly
pierce through the earth. The article will show how these images implicitly speak of the
disappearance and seek meaning through emptiness.
Four Conversations with Canadian Communications Officers
of power over the making and dissemination of images, the ethical principles involved in their visual practice and, finally, the concerns they share with historians.
Apprenticeships and Career Trajectories among Visual Media Specialists in Canadian NGOs
The course of the careers of all five publicists is marked by the history of the technical and institutional transformations of the media industry, from the decrease in size and number of newspapers, magazines, and news agencies, to the multiplication of online platforms, the deregulation of news outlets
Visual Advocacy in the Early Decades of Humanitarian Cinema
beneficiaries, and shed light on ‘hidden’ realities through the mechanical image.
Yet, historians have only started to unravel the rich diversity of humanitarian films of the 1920s, even less from the perspective of visual advocacy. Therefore, the purpose of this paper is to question the regimes of visibility through which early humanitarian cinema operated and the parallels raised with modern advocacy strategies. While previous scholarship has focused mainly on humanitarian representations and visual strategies ( Kurasawa, 2012 ), this paper opens new lines of inquiry
-Cold War era also suggest a disconnect between the apparent straightforwardness of the concept and its practical enforcement. Whether political forces engaged in armed conflict – state or non-state actors – will consent to the opening of a humanitarian corridor depends on how concerned they are about their population, on the importance they assign to their international image and how these two factors hang in the balance compared to conflicting military interests. Yet arguably, it is also the vagueness of the concept itself which allows for diverging interpretations and
John Harries, Linda Fibiger, Joan Smith, Tal Adler, and Anna Szöke
This article will query the ethics of making and displaying photographs of human
remains. In particular, we will focus on the role of photography in constituting
human remains as specimens, and the centrality of the creation and circulation
of photographic images to the work of physical anthropology and bioarchaeology.
This work has increasingly become the object of ethical scrutiny, particularly
in the context of a (post)colonial politics of recognition in which indigenous
people seek to recover dominion over their looted material heritage, including
the remains of their dead. This ethical concern extends to the question of how
and under what circumstances we may display photographs of human remains.
Moreover, this is not just a matter of whether and when we should or should not
show photographs of the remains of the dead. It is a question of how these
images are composed and produced. Our discussion of the ethics of the image is,
therefore, indivisible from a consideration of the socio-technical process by
which the photographic image is produced, circulated and consumed.
When drone footage emerged of New York City’s COVID-19 casualties being
buried by inmates in trenches on Hart Island, the images became a key symbol for
the pandemic: the suddenly soaring death toll, authorities’ struggle to
deal with overwhelming mortality and widespread fear of anonymous, isolated
death. The images shocked New Yorkers, most of whom were unaware of Hart Island,
though its cemetery operations are largely unchanged since it opened over 150
years ago, and about one million New Yorkers are buried there. How does Hart
Island slip in and out of public knowledge for New Yorkers in a cycle of
remembering and forgetting – and why is its rediscovery shocking? Perhaps
the pandemic, understood as a spectacular event, reveals what has been there,
though unrecognised, all along.
1968 the Nigerian
Civil War (1967–70) was transformed into the international media event
‘Biafra’. Biafran secessionists failed at first to get the world’s
attention with the language of self-determination. But once the West saw the plight of
Biafrans through a ‘humanitarian lens’ the response was overwhelming
– involving the largest airlift since WWII. Nothing did more to elicit this
response than images of starving ‘Biafran babies’ that saturated the
Western media. Those images