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This book provides the first comprehensive account of trauma as a critical concept in the study of modern visual media, from Freud to the present day, looking at how the psychoanalytic theory of trauma was adapted by the cultural critics Walter Benjamin,Theodor Adorno, Roland Barthes, Jacques Derrida, and Slavoj Zizek.
Author : Peter Leese,Julia Barbara Köhne,Jason Crouthamel Publisher : University of Toronto Press Page : 423 pages File Size : 47,6 Mb Release : 2021 Category : Memory in art ISBN : 9781487508968
This book provides the first comprehensive account of trauma as a critical concept in the study of modern visual media, from Freud to the present day, explaining how contemporary trauma studies emerged from research on Holocaust representation in which the audiovisual testimony of survivors was posed as an authentic alternative to popular television and film dramatizations. It argues that the media coverage of 9/11 and the subsequent ‘war on terror,’ however, has revealed how the formation of communities of witness and commemoration around ‘traumatic events’ can perpetuate violence and inequality. The book explains how Benjamin, Adorno and Barthes, drawing from psychoanalysis, analyzed the roles of fantasy, ideology and collective identification in mass media, and began to understand trauma as an authentic experience of modernity. It proposes that the insights of these earlier theorists, along with more recent arguments by Derrida, Agamben and Zizek, continue to provide important perspectives on today’s politics of mediated shock and terror.
In Transmitted Wounds, Amit Pinchevski explores the ways media technology and logic shape the social life of trauma both clinically and culturally. Bringing media theory to bear on trauma theory, Pinchevski reveals the technical operations that inform the conception and experience of traumatic impact and memory. He offers a bold thesis about the deep association of media and trauma: media bear witness to the human failure to bear witness, making the traumatic technologically transmissible and reproducible. Taking up a number of case studies--the radio broadcasts of the Eichmann trial; the videotaping of Holocaust testimonies; recent psychiatric debates about trauma through media following the 9/11 attacks; current controversy surrounding drone operators' post-trauma; and digital platforms of algorithmic-holographic witnessing and virtual reality exposure therapy for PTSD--Pinchevski demonstrates how the technological mediation of trauma feeds into the traumatic condition itself. The result is a novel understanding of media as constituting the material conditions for trauma to appear as something that cannot be fully approached and yet somehow must be. While drawing on contemporary materialist media theory, especially the work of Friedrich Kittler and his followers, Pinchevski goes beyond the anti-humanistic tendency characterizing the materialist approach, discovering media as bearing out the human vulnerability epitomized in trauma, and finding therein a basis for moral concern in the face of violence and atrocity. Transmitted Wounds unfolds the ethical and political stakes involved in the technological transmission of mental wounds across clinical, literary, and cultural contexts.
Spirited Histories combines ethnography with critical theory to provide a sophisticated exploration of the intersection of haunting and the paranormal with technology, media, and history. Retrieving the past in places of trauma and death can take on many facets. One of these is an attention to hauntings, ghosts, and absences that go with the collective experience of loss and disappearance. People memorialize the dead and their stories in myriad ways. But what about the untold stories, or the forgotten, unnamed? This book explores the ways groups of Chilean paranormal investigators and ghost tour operators produce alternate histories using paranormal machinery, rather than simply theatricalizing pain. It offers a look at technologies, machines, and apparatuses – themselves imbued with a long history of supernatural and scientific expectations – and a social analysis of how certain groups of people marshal the voices of the dead to generate particular micro-histories. This fascinating volume will be of interest to a range of disciplines, including anthropology, sociology, history, religious studies, and scholars of technology and new media.
Trauma Reporting provides vital information on developing a healthy, professional and respectful relationship with those who choose to tell their stories during times of trauma, distress or grief. Amid a growing demand and need for guidance, this fascinating book is refreshingly simple, engaging and readable, providing a wealth of original insight. As an aspiring or working journalist, how should you work with a grieving parent, a survivor of sexual violence, a witness at the scene of a traumatic event? How should you approach people, interview them and film with them sensitively? Trauma Reporting features guidance from some of the industry’s most successful news correspondents and documentary makers, including Louis Theroux, Lucy Williamson, Tulip Mazumdar, Richard Bilton, Jina Moore and many more, all sharing their experience and expertise. It also features people who chose to tell their sensitive stories to journalists, giving readers invaluable insight into what helped and what harmed. The book also includes: What your interviewees may be going through and how best to respond, by trauma expert Professor Stephen Regel. A discussion on ethics, rules and regulations by Dr Sallyanne Duncan of the University of Strathclyde. Making sure you look after yourself, by Dr Cait McMahon of the Dart Center for Journalism and Trauma. Insightful and innovative, this book is essential for new and established journalists across all media, students of journalism and broadcasting, and anyone who wishes to share the stories of those affected by trauma.
Trauma, Media, Art by Mick Broderick,Antonio Traverso Pdf
During the past one hundred years or so, the depiction of traumatic historical events and experiences has been a recurrent theme in the work of artists and media professionals—including those in literature, theatre, visual art, architecture, cinema, and television—among other forms of cultural expression and social communication. The essays collected in this book follow a contemporary critical trend in the field of trauma studies that reflects comparatively on artistic and media representations of traumatic histories and experiences from countries around the world. Focusing on a diversity of art and media forms—including memorials, literature, visual and installation art, music, video, film, and journalism—they both apply dominant theories of trauma and explore the former’s limitations while bearing in mind other possible methodologies. Trauma, Media, Art: New Perspectives contributes to a critical trauma studies, a field that reinvigorates itself in the twenty-first century through its constant reassessment of the relationship between theory, representation, and global histories of violence and suffering.
E. Ann Kaplan explores the relationship between the impact of trauma on individuals and on entire cultures and nations. Arguing that humans possess a need to draw meaning from personal experience and to communicate what happens to others, she examines the forms that are used to bridge the experience.
All My Friends Live in My Computer by Samira Rajabi Pdf
All My Friends Live in my Computer combines personal stories, media studies, and interdisciplinary theories to examine case studies from three unique parts of society. From illness narratives among breast cancer patients to political upheaval among Iranian-Americans, this book examines what people do when they go online after they have suffered a trauma. It offers in-depth academic analysis alongside deeply personal stories and case studies to take the reader on a journey through rapidly changing digital/social worlds. When people are traumatized, their worlds stop making sense, and All My Friends Live in My Computer explores how everyday people use social media to try and make a new world for themselves and others who are suffering. Through its attention to personal stories and application of media theory to new contexts, this book highlights how, when given the tools, people will make meaning in creative, novel, and healing ways.
Interrogating Trauma by Mick Broderick,Antonio Traverso Pdf
Throughout the past century, traumatic experiences have been re-enacted frequently by evolving media and art forms. Now there is a significant body of theory across academic disciplines focused on the representation of cataclysmic European and US historical events. However, less critical attention has been devoted to the representation of havoc outside the West, even though depictions of Third-World disasters saturate contemporary media and art around the globe. This book considers traumatic histories internationally in a broad range of creative arts and visual media representations. Deploying diverse applications of the conventional theories of trauma, it examines the theoretical limitations at the same time as considering alternative methodologies. Interrogating Trauma is concerned with the examination of the concept of trauma, and how it is (often unproblematically) used to theorise the cultural representation of disaster and atrocity. It offers a theorisation of trauma, in order to reappraise the relationship between cultural representation and the socio-historical processes which are marked by violence, conflict and suffering. This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.
In Beyond the Trauma Vortex, Gina Ross proposes a collaboration between the media, trauma researchers, and helping officials in order to break the vicious cycle of trauma and violence. The media, Ross suggests, can use their tremendous influence to promote peace rather than violence and to heal wounded psyches, communities, and nations. Delving first into the destructive nature of the "trauma vortex" through a variety of individual and historical examples, Ross then offers her insight into an alternate, restorative "healing vortex." By focusing on the interrelatedness of personal and collective healing, the author makes a compelling case for why--and how--media professionals can play an influential role in effecting widespread healing for their viewers and for themselves.
In Popular Trauma Culture, Anne Rothe argues that American Holocaust discourse has a particular plot structure—characterized by a melodramatic conflict between good and evil and embodied in the core characters of victim/survivor and perpetrator—and that it provides the paradigm for representing personal experiences of pain and suffering in the mass media. The book begins with an analysis of Holocaust clichés, including its political appropriation, the notion of vicarious victimhood, the so-called victim talk rhetoric, and the infusion of the composite survivor figure with Social Darwinism. Readers then explore the embodiment of popular trauma culture in two core mass media genres: daytime TV talk shows and misery memoirs. Rothe conveys how victimhood and suffering are cast as trauma kitsch on talk shows like Oprah and as trauma camp on modern-day freak shows like Springer. The discussion also encompasses the first scholarly analysis of misery memoirs, the popular literary genre that has been widely critiqued in journalism as pornographic depictions of extreme violence. Currently considered the largest growth sector in book publishing worldwide, many of these works are also fabricated. And since forgeries reflect the cultural entities that are most revered, the book concludes with an examination of fake misery memoirs.
Conflict in all its guises is usually at the centre of news and whenever wars, natural disasters or divisions erupt, the media are there to report, record and commemorate. This collection of essays explores the complicated relationship between the messengers bringing news of catastrophic upheaval and the recipients of that message. It concentrates on the journalists, photographers and film-makers, reflecting not only the motivations behind their work, but also the psychological consequences of witnessing extreme suffering. The audience interpret the news according to their circumstance, be it with anger sympathy or with compassion-fatigued indifference. The book explores that reaction, which is always more nuanced than anticipated. Finally, the modern communication circle is completed by exploring the potential of the media to diminish conflict. This is demonstrated by the media bringing together communities that are either geographically or historically divided.
The role of journalists in covering trauma and tragedy isn't new. Witnessing acts of violence, destruction and terror has long been the professional responsibility of countless print and broadcast reporters and photographers. But what is new is a growing awareness of the emotional consequences of such coverage on the victims, their families and loved ones, their communities, and on the journalists whose job it is to tell these stories. Trauma Journalism personalizes this movement with in-depth profiles of reporters, researchers and trauma experts engaged in an international effort to transform how the media work under the most difficult of conditions. Through biographical sketches concerning several significant traumatic events (Oklahoma City bombing, Columbine school tragedy, 9/11, Iraq War, the South Asian tsunami, Hurricane Katrina), students and working reporters will gain insights into the critical components of contemporary journalism practices affecting news judgment, news gathering techniques, as well as legal and ethical issues. Trauma Journalism calls for the creation - through ongoing education - of a culture of caring among journalists worldwide.
To attract readers, journalists have long trafficked in the causes of trauma--crime, violence, warfare--as well as psychological profiling of deviance and aberrational personalities. Novelists, in turn, have explored these same subjects in developing their characters and by borrowing from their own traumatic life stories to shape the themes and psychological terrain of their fiction. In this book, Doug Underwood offers a conceptual and historical framework for comprehending the impact of trauma and violence in the careers and the writings of important journalist-literary figures in the United States and British Isles from the early 1700s to today. Grounded in the latest research in the fields of trauma studies, literary biography, and the history of journalism, this study draws upon the lively and sometimes breathtaking accounts of popular writers such as Charles Dickens, Ernest Hemingway, Dorothy Parker, Graham Greene, and Truman Capote, exploring the role that trauma has played in shaping their literary works. Underwood notes that the influence of traumatic experience upon journalistic literature is being reshaped by a number of factors, including news media trends, the advance of the Internet, the changing nature of the journalism profession, the proliferation of psychoactive drugs, and journalists' greater self-awareness of the impact of trauma in their work. The most extensive scholarly examination of the role that trauma has played in the shaping of our journalistic and literary heritage, Chronicling Trauma: Journalists and Writers on Violence and Loss discusses more than a hundred writers whose works have won them fame, even at the price of their health, their families, and their lives.