S. Elizabeth Bird – författare

The Anthropology of News and Journalism is the first book to explore the role of news and journalism in contemporary culture from an anthropological perspective—as a form of cultural meaning-making in its creation, content, and dissemination. Anthropology's global, comparative perspective and ethnographic methods provide powerful insights for analyzing case studies from around the world. Essays by leading scholars explore communities of professional and nonprofessional journalists. They describe news-making processes ranging from the local to the global digital environment, as well as how news is disseminated and received in a variety of cultural settings. Contributors are S. Elizabeth Bird, Amahl Bishara, Dominic C. Boyer, Dorle Dracklé, Zeynep Devrim Gürsel, Jennifer Hasty, Joseph C. Manzella, Kerry McCallum, Mark Pedelty, Mark Allen Peterson, Ursula Rao, Adrienne Russell, Christina Schwenkel, Jonathan Skinner, Debra Spitulnik, Maria D. Vesperi, Karin Wahl-Jorgensen, and Leon I. Yacher.

One hundred members of NatChat, an electronic mail discussion group concerned with Native American issues, responded to the recent Disney release Pocahontas by calling on parents to boycott the movie, citing its historical inaccuracies and saying that ?Disney has let us down in a cruel, irresponsible manner.? Their anger was rooted in the fact that

The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone--their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.

The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone--their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.

One hundred members of NatChat, an electronic mail discussion group concerned with Native American issues, responded to the recent Disney release Pocahontas by calling on parents to boycott the movie, citing its historical inaccuracies and saying that "Disney has let us down in a cruel, irresponsible manner." Their anger was rooted in the fact that, although Disney had claimed that the film''s portrayal of American Indians would be "authentic," the Pocahontas story the movie told was really white cultural myth. The actual histories of the characters were replaced by mythic narratives depicting the crucial moments when aid was given to the white settlers. As reconstructed, the story serves to reassert for whites their right to be here, easing any lingering guilt about the displacement of the native inhabitants. To understand current imagery, it is essential to understand the history of its making, and these essays mesh to create a powerful, interconnected account of image creation over the past 150 years. The contributors, who represent a range of disciplines and specialties, reveal the distortions and fabrications white culture has imposed on significant historical and current events, as represented by treasured artifacts such as photographic images taken of Sitting Bull following his surrender, the national monument at the battlefield of Little Bighorn, nineteenth-century advertising, the television phenomenon Northern Exposure, and the film Dances with Wolves. Well illustrated, this volume demonstrates the complacency of white culture in its representation of its troubled relationship with American Indians.

One hundred members of NatChat, an electronic mail discussion group concerned with Native American issues, responded to the recent Disney release Pocahontas by calling on parents to boycott the movie, citing its historical inaccuracies and saying that "Disney has let us down in a cruel, irresponsible manner." Their anger was rooted in the fact that, although Disney had claimed that the film''s portrayal of American Indians would be "authentic," the Pocahontas story the movie told was really white cultural myth. The actual histories of the characters were replaced by mythic narratives depicting the crucial moments when aid was given to the white settlers. As reconstructed, the story serves to reassert for whites their right to be here, easing any lingering guilt about the displacement of the native inhabitants. To understand current imagery, it is essential to understand the history of its making, and these essays mesh to create a powerful, interconnected account of image creation over the past 150 years. The contributors, who represent a range of disciplines and specialties, reveal the distortions and fabrications white culture has imposed on significant historical and current events, as represented by treasured artifacts such as photographic images taken of Sitting Bull following his surrender, the national monument at the battlefield of Little Bighorn, nineteenth-century advertising, the television phenomenon Northern Exposure, and the film Dances with Wolves. Well illustrated, this volume demonstrates the complacency of white culture in its representation of its troubled relationship with American Indians.

One hundred members of NatChat, an electronic mail discussion group concerned with Native American issues, responded to the recent Disney release Pocahontas by calling on parents to boycott the movie, citing its historical inaccuracies and saying that Disney has let us down in a cruel, irresponsible manner." Their anger was rooted in the fact that, although Disney claimed that the film's portrayal of American Indians would be authentic," the Pocahontas story their movie told was really white cultural myth. The actual histories of the characters were replaced by mythic narratives depicting the crucial moments when aid was given to the white settlers. As reconstructed, the story serves to reassert for whites their right to be here, easing any lingering guilt about the displacement of the native inhabitants.To understand current imagery, it is essential to understand the history of its making, and these essays mesh to create a powerful, interconnected account of image creation over the past 150 years. The contributors, who represent a range of disciplines and specialties, reveal the distortions and fabrications white culture has imposed on significant historical and current events, as represented by treasured artifacts, such as photographic images taken of Sitting Bull following his surrender, the national monument at the battlefield of Little Bighorn, nineteenth-century advertising, the television phenomenon Northern Exposure, and the film Dances with Wolves. Well illustrated, this volume demonstrates the complacency of white culture in its representation of its troubled relationship with American Indians.

In October 1967, early in the Nigerian Civil War, government troops entered Asaba in pursuit of the retreating Biafran army, slaughtering thousands of civilians and leaving the town in ruins. News of the atrocity was suppressed by the Nigerian government, with the complicity of Britain, and its significance in the subsequent progress of that conflict was misunderstood. Drawing on archival sources on both sides of the Atlantic and interviews with survivors of the killing, pillaging and rape, as well as with high-ranking Nigerian military and political leaders, S. Elizabeth Bird and Fraser M. Ottanelli offer an interdisciplinary reconstruction of the history of the Asaba Massacre, redefining it as a pivotal point in the history of the war. Through this, they also explore the long afterlife of trauma, the reconstruction of memory and how it intersects with justice, and the task of reconciliation in a nation where a legacy of ethnic suspicion continues to reverberate.

In October 1967, early in the Nigerian Civil War, government troops entered Asaba in pursuit of the retreating Biafran army, slaughtering thousands of civilians and leaving the town in ruins. News of the atrocity was suppressed by the Nigerian government, with the complicity of Britain, and its significance in the subsequent progress of that conflict was misunderstood. Drawing on archival sources on both sides of the Atlantic and interviews with survivors of the killing, pillaging and rape, as well as with high-ranking Nigerian military and political leaders, S. Elizabeth Bird and Fraser M. Ottanelli offer an interdisciplinary reconstruction of the history of the Asaba Massacre, redefining it as a pivotal point in the history of the war. Through this, they also explore the long afterlife of trauma, the reconstruction of memory and how it intersects with justice, and the task of reconciliation in a nation where a legacy of ethnic suspicion continues to reverberate.

In October 1967, early in the Nigerian Civil War, government troops entered Asaba in pursuit of the retreating Biafran army, slaughtering thousands of civilians and leaving the town in ruins. News of the atrocity was suppressed by the Nigerian government, with the complicity of Britain, and its significance in the subsequent progress of that conflict was misunderstood. Drawing on archival sources on both sides of the Atlantic and interviews with survivors of the killing, pillaging and rape, as well as with high-ranking Nigerian military and political leaders, S. Elizabeth Bird and Fraser M. Ottanelli offer an interdisciplinary reconstruction of the history of the Asaba Massacre, redefining it as a pivotal point in the history of the war. Through this, they also explore the long afterlife of trauma, the reconstruction of memory and how it intersects with justice, and the task of reconciliation in a nation where a legacy of ethnic suspicion continues to reverberate.

The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone--their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.

The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone--their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.

In October 1967, early in the Nigerian Civil War, government troops entered Asaba in pursuit of the retreating Biafran army, slaughtering thousands of civilians and leaving the town in ruins. News of the atrocity was suppressed by the Nigerian government, with the complicity of Britain, and its significance in the subsequent progress of that conflict was misunderstood. Drawing on archival sources on both sides of the Atlantic and interviews with survivors of the killing, pillaging and rape, as well as with high-ranking Nigerian military and political leaders, S. Elizabeth Bird and Fraser M. Ottanelli offer an interdisciplinary reconstruction of the history of the Asaba Massacre, redefining it as a pivotal point in the history of the war. Through this, they also explore the long afterlife of trauma, the reconstruction of memory and how it intersects with justice, and the task of reconciliation in a nation where a legacy of ethnic suspicion continues to reverberate.

Based on case studies spanning time and geography from the Spanish to the Nigerian civil wars, to government repression in Argentina and genocidal policies in Guatemala and Rwanda and, finally, to forced population removal in Australia and Israel, this collection represents a focused attempt to come to grips with some of the strategies used to publicly engage with traumatic memory work. The various essays offer a kaleidoscopic perspective of new approaches to show how such memory work contributes to transitional justice efforts, demonstrating the complexities of achieving justice and reconciliation through the open expression of shared memories of violence.