Media, mobilization and human rights mediating suffering /
"Why do news stories of atrocities sometimes mobilize people, while at other times they are met with indifference? Do different forms of media have a greater or lesser impact on mobilization? Media, Mobilization, and Human Rights investigates the assumption that exposure to human rights violati...
| Други автори: | Borer, Tristan Anne, 1965- |
|---|---|
| Формат: | Електронен |
| Език: | English |
| Публикувано: |
London :
New York : Zed,
2012.
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| Предмети: | |
| Онлайн достъп: |
http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=512651 |
| Подобни документи: |
Print version::
Media, mobilization and human rights. |
Съдържание:
- About the editor; Title page; Copyright; Contents; Acknowledgments; Introduction: willful ignorance
- news production, audience reception, and responses to suffering; Twenty years in Somalia; Mediating suffering; States, the media, and humanitarian intervention; Ordinary people, the media, and distant suffering; News production
- the first half of the equation; Audience reception
- the other half of the equation; Critiques; Conclusion; Notes; References; 1 Humanitarian intervention in the 1990s: cultural remembrance and the reading of Somalia as Vietnam.
- 'We were wrong, terribly wrong': Vietnam in the 1990s'We saw it ... in Vietnam. We saw it in Somalia': debating humanitarian intervention in the 1990s; 'We should have said no': Vietnam's legacy and popular culture of the Somalia intervention; Conclusion; Notes; References; 2 Framing a rights ethos: artistic media and the dream of a culture without borders; Purposes; Modes; Case studies; 2.1 Satrapi uses frame sequencing as a method of ironic juxtaposition; 2.2 Delisle uses iconography toreduce an oil and gas company to its essence.
- 2.3 Delisle uses the iconic representation of institutions to indicate a complex social program in a visual shorthand2.4 Sacco uses iconographic reduction in an otherwise realist setting, distilling F.'s essence to his enraged mouth; 2.5 Spiegelman uses visual metaphorto testify to his father's experience of being trapped; 2.6 Satrapi juxtaposes visual metaphors of modernity and the West with Persian culture; 2.7 Satrapi recasts Edvard Munch's iconic image of The Scream as an Iranian girl's horror of the revolution; 2.8 Stassen uses the dog metaphor to indicate Deogratias' self-image.
- 2.9 Satrapi makes use of the gaps between panels to slow down the pace of the action2.10 Satrapi employs chiaroscuro to represent lament; 2.11 Laughing at the curriculum on torture; 2.12 Sacco's reporter fails to understand that laughter is the story; 2.13 Delisle presents the annual Water Festival as Burmese; Problems; Immediate action versus structures of feeling; References; 3 How editors choose which human rights news to cover: a case study of Mexican newspapers; Introduction; Background; A framework for understanding news selection; 3.1 Model illustrating the process of news selection.
- Determining the newsworthiness of human rights informationJournalistic aims of human rights reporting: supporting democracy and stopping violations; Economic aims of human rights reporting: meeting reader demand and filling column inches; Political aims of human rights reporting: limited partisan and personal motives; Conclusion; Notes; References; 4 Framing strategies for economic and social rights in the United States; Introduction; The role of framing; Framing strategies for economic and social rights; Table 4.1 Common framing strategies for economic and social rights; Conclusions; Notes.