Media, War and Security – serie

This book offers a comparative analysis of British Army Unit War Diaries in the two World Wars, to reveal the role played by previously unnoticed technologies in shaping the archival records of war. Despite thriving scholarship on the history of war, the history of Operational Record Keeping in the British Army remains unexplored. Since World War I, the British Army has maintained daily records of its operations. These records, Unit War Diaries, are the first official draft of events on the battlefield. They are vital for the army’s operational effectiveness and fundamental to the histories of British conflict, yet the material history of their own production and development has been widely ignored. This book is the first to consider Unit War Diaries as mediated, material artefacts with their own history. Through a unique comparative analysis of the Unit War Diaries of the First and Second World Wars, this book uncovers the mediated processes involved in the practice of operational reporting and reveals how hidden technologies and ideologies have shaped the official record of warfare. Tracking the records into The National Archives in Kew, where they are now held, the book interrogates how they are re-presented and re-interpreted through the archive. It investigates how the individuals, institutions and technologies involved in the production and uses of unit diaries from battlefield to archive have influenced how modern war is understood and, more importantly, waged.This book will be of much interest to students of media and communication studies, military history, archive studies and British history.

This book offers a comparative analysis of British Army Unit War Diaries in the two World Wars, to reveal the role played by previously unnoticed technologies in shaping the archival records of war. Despite thriving scholarship on the history of war, the history of Operational Record Keeping in the British Army remains unexplored. Since World War I, the British Army has maintained daily records of its operations. These records, Unit War Diaries, are the first official draft of events on the battlefield. They are vital for the army’s operational effectiveness and fundamental to the histories of British conflict, yet the material history of their own production and development has been widely ignored. This book is the first to consider Unit War Diaries as mediated, material artefacts with their own history. Through a unique comparative analysis of the Unit War Diaries of the First and Second World Wars, this book uncovers the mediated processes involved in the practice of operational reporting and reveals how hidden technologies and ideologies have shaped the official record of warfare. Tracking the records into The National Archives in Kew, where they are now held, the book interrogates how they are re-presented and re-interpreted through the archive. It investigates how the individuals, institutions and technologies involved in the production and uses of unit diaries from battlefield to archive have influenced how modern war is understood and, more importantly, waged.This book will be of much interest to students of media and communication studies, military history, archive studies and British history.

This book examines the circulation and effects of radical discourse by analysing the role of mass media coverage in promoting or hindering radicalisation and acts of political violence.There is a new environment of conflict in the post-9/11 age, in which there appears to be emerging threats to security and stability in the shape of individuals and groups holding or espousing radical views about religion, ideology, often represented in the media as oppositional to Western values. This book asks what, if anything is new about these radicalising discourses, how and why they relate to political acts of violence and terror, and what the role of the mass media is in promoting or hindering them.This includes exploring how the acts themselves and explanations for them on the web are picked up and represented in mainstream television news media or Big Media, through the journalistic and editorial uses of words, phrases, graphics, images, and videos. It analyses how interpretations of the term 'radicalisation' are shaped by news representations through investigating audience responses, understandings and misunderstandings. Transnational in scope, this book seeks to contribute to an understanding of the connectivity and relationships that make up the new media ecology, especially those that appear to transcend the local and the global, accelerate the dissemination of radicalising discourses, and amplify media/public fears of political violence.This book will be of interest to students of security studies, media studies, terrorism studies, political science and sociology.

This book examines the practices of actors involved in the media reportage of war, and the ways in which these practices may influence the conduct of modern military operations.War is a complex phenomenon which raises numerous questions about the organization of society that continue to challenge all those involved in its study. Increasingly, this includes the need to engage theoretically and empirically with the progressive collapse between the ways in which wars are conducted and the manner in which they are reported in the media. Drawing on the work of Erving Goffman, Military Media Management offers a distinctly new approach to our appreciation of the dynamic relationship between war and media; one that is fundamentally a product of social relations between those engaged in reporting war, and those conducting war campaigns. By exploring how and why the military manage information in particular ways, the text succeeds in providing a framework through which wider sociological investigation of this relationship can be understood.This book will be of much interest to students of military and security studies, media studies, war and conflict studies and IR in general.

This book examines the online memory wars in post-Soviet states – where political conflicts take the shape of heated debates about the recent past, and especially World War II and Soviet socialism. To this day, former socialist states face the challenge of constructing national identities, producing national memories, and relating to the Soviet legacy. Their pasts are principally intertwined: changing readings of history in one country generate fierce reactions in others. In this transnational memory war, digital media form a pivotal discursive space – one that provides speakers with radically new commemorative tools. Uniting contributions by leading scholars in the field, Memory, Conflict and New Media is the first book-length publication to analyse how new media serve as a site of political and national identity building in post-socialist states. The book also examines how the construction of online identity is irreversibly affected by thinking about the past in this geopolitical domain. By highlighting post-socialist memory’s digital mediations and digital memory’s transcultural scope, the volume succeeds in a twofold aim: to deepen and refine both (post-socialist) memory theory and digital-memory studies.This book will be of much interest to students of media studies, post-Soviet studies, Eastern European Politics, memory studies and International Relations in general.

This book examines the circulation and effects of radical discourse by analysing the role of mass media coverage in promoting or hindering radicalisation and acts of political violence.There is a new environment of conflict in the post-9/11 age, in which there appears to be emerging threats to security and stability in the shape of individuals and groups holding or espousing radical views about religion, ideology, often represented in the media as oppositional to Western values. This book asks what, if anything is new about these radicalising discourses, how and why they relate to political acts of violence and terror, and what the role of the mass media is in promoting or hindering them.This includes exploring how the acts themselves and explanations for them on the web are picked up and represented in mainstream television news media or Big Media, through the journalistic and editorial uses of words, phrases, graphics, images, and videos. It analyses how interpretations of the term 'radicalisation' are shaped by news representations through investigating audience responses, understandings and misunderstandings. Transnational in scope, this book seeks to contribute to an understanding of the connectivity and relationships that make up the new media ecology, especially those that appear to transcend the local and the global, accelerate the dissemination of radicalising discourses, and amplify media/public fears of political violence.This book will be of interest to students of security studies, media studies, terrorism studies, political science and sociology.

This edited volume examines theoretical and empirical issues relating to violence and war and its implications for media, culture and society. Over the last two decades there has been a proliferation of books, films and art on the subject of violence and war. However, this is the first volume that offers a varied analysis which has wider implications for several disciplines, thus providing the reader with a text that is both multi-faceted and accessible. This book introduces the current debates surrounding this topic through five particular lenses: the historical involves an examination of historical patterns of the communication of violence and war through a variety sources the cultural utilises the cultural studies perspective to engage with issues of violence, visibility and spectatorship the sociological focuses on how terrorism, violence and war are remembered and negotiated in the public sphere the political offers an exploration into the politics of assigning blame for war, the influence of psychology on media actors, and new media political communication issues in relation to the state and the media the gender-studies perspective provides an analysis of violence and war from a gender studies viewpoint.Violence and War in Culture and the Media will be of much interest to students of war and conflict studies, media and communications studies, sociology, security studies and political science.

This book explores the ideas of key thinkers and media practitioners who have examined images and icons of war and terror. Icons of War and Terror explores theories of iconic images of war and terror, not as received pieties but as challenging uncertainties; in doing so, it engages with both critical discourse and conventional image-making. The authors draw on these theories to re-investigate the media/global context of some of the most iconic representations of war and terror in the international ‘risk society’. Among these photojournalistic images are: Nick Ut’s Pulitzer Prize winning photograph of a naked girl, Kim Phuc, running burned from a napalm attack in Vietnam in June 1972; a quintessential ‘ethnic cleansing’ image of massacred Kosovar Albanian villagers at Racak on January 15, 1999, which finally propelled a hesitant Western alliance into the first of the ‘new humanitarian wars’; Luis Simco’s photograph of marine James Blake Miller, ‘the Marlboro Man’, at Fallujah, Iraq, 2004; the iconic toppling of the World Trade Centre towers in New York by planes on September 11, 2001; and the ‘Falling Man’ icon – one of the most controversial images of 9/11; the image of one of the authors of this book, as close-up victim of the 7/7 terrorist attack on London, which the media quickly labelled iconic.This book will be of great interest to students of media and war, sociology, communications studies, cultural studies, terrorism studies and security studies in general.

This book explores the ideas of key thinkers and media practitioners who have examined images and icons of war and terror. Icons of War and Terror explores theories of iconic images of war and terror, not as received pieties but as challenging uncertainties; in doing so, it engages with both critical discourse and conventional image-making. The authors draw on these theories to re-investigate the media/global context of some of the most iconic representations of war and terror in the international ‘risk society’. Among these photojournalistic images are: Nick Ut’s Pulitzer Prize winning photograph of a naked girl, Kim Phuc, running burned from a napalm attack in Vietnam in June 1972; a quintessential ‘ethnic cleansing’ image of massacred Kosovar Albanian villagers at Racak on January 15, 1999, which finally propelled a hesitant Western alliance into the first of the ‘new humanitarian wars’; Luis Simco’s photograph of marine James Blake Miller, ‘the Marlboro Man’, at Fallujah, Iraq, 2004; the iconic toppling of the World Trade Centre towers in New York by planes on September 11, 2001; and the ‘Falling Man’ icon – one of the most controversial images of 9/11; the image of one of the authors of this book, as close-up victim of the 7/7 terrorist attack on London, which the media quickly labelled iconic.This book will be of great interest to students of media and war, sociology, communications studies, cultural studies, terrorism studies and security studies in general.

This edited volume examines theoretical and empirical issues relating to violence and war and its implications for media, culture and society. Over the last two decades there has been a proliferation of books, films and art on the subject of violence and war. However, this is the first volume that offers a varied analysis which has wider implications for several disciplines, thus providing the reader with a text that is both multi-faceted and accessible. This book introduces the current debates surrounding this topic through five particular lenses: the historical involves an examination of historical patterns of the communication of violence and war through a variety sources the cultural utilises the cultural studies perspective to engage with issues of violence, visibility and spectatorship the sociological focuses on how terrorism, violence and war are remembered and negotiated in the public sphere the political offers an exploration into the politics of assigning blame for war, the influence of psychology on media actors, and new media political communication issues in relation to the state and the media the gender-studies perspective provides an analysis of violence and war from a gender studies viewpoint.Violence and War in Culture and the Media will be of much interest to students of war and conflict studies, media and communications studies, sociology, security studies and political science.

This book examines the practices of actors involved in the media reportage of war, and the ways in which these practices may influence the conduct of modern military operations.War is a complex phenomenon which raises numerous questions about the organization of society that continue to challenge all those involved in its study. Increasingly, this includes the need to engage theoretically and empirically with the progressive collapse between the ways in which wars are conducted and the manner in which they are reported in the media. Drawing on the work of Erving Goffman, Military Media Management offers a distinctly new approach to our appreciation of the dynamic relationship between war and media; one that is fundamentally a product of social relations between those engaged in reporting war, and those conducting war campaigns. By exploring how and why the military manage information in particular ways, the text succeeds in providing a framework through which wider sociological investigation of this relationship can be understood.This book will be of much interest to students of military and security studies, media studies, war and conflict studies and IR in general.

Global Terrorism and New Media carefully examines the content of terrorist websites and extremist television programming to provide a comprehensive look at how terrorist groups use new media today.Based partly on a content analysis of discussion boards and forums, the authors share their findings on how terrorism 1.0 is migrating to 2.0 where the interactive nature of new media is used to build virtual organization and community. Although the creative use of social networking tools such as Facebook may advance the reach of terrorist groups, the impact of their use of new media remains uncertain. The book pays particular attention to terrorist media efforts directed at women and children, which are evidence of the long-term strategy that some terrorist organizations have adopted, and the relationship between terrorists’ media presence and actual terrorist activity. This volume also looks at the future of terrorism online and analyzes lessons learned from counterterrorism strategies. This book will be of much interest to students of terrorism studies, media and communication studies, security studies and political science.

Global Terrorism and New Media carefully examines the content of terrorist websites and extremist television programming to provide a comprehensive look at how terrorist groups use new media today.Based partly on a content analysis of discussion boards and forums, the authors share their findings on how terrorism 1.0 is migrating to 2.0 where the interactive nature of new media is used to build virtual organization and community. Although the creative use of social networking tools such as Facebook may advance the reach of terrorist groups, the impact of their use of new media remains uncertain. The book pays particular attention to terrorist media efforts directed at women and children, which are evidence of the long-term strategy that some terrorist organizations have adopted, and the relationship between terrorists’ media presence and actual terrorist activity. This volume also looks at the future of terrorism online and analyzes lessons learned from counterterrorism strategies. This book will be of much interest to students of terrorism studies, media and communication studies, security studies and political science.

This book investigates representations of the Central Intelligence Agency (CIA) in Hollywood films, and the synergies between Hollywood product, U.S. military/defense interests and U.S. foreign policy.As probably the best known of the many different intelligence agencies of the US, the CIA is an exceptionally well known national and international icon or even "brand," one that exercises a powerful influence on the imagination of people throughout the world as well as on the creative minds of filmmakers. The book examines films sampled from five decades - the 1960s, 1970s, 1980s, 1990s and 2000s - and explores four main issues: the relative prominence of the CIA; the extent to which these films appeared to be overtly political; the degree to which they were favorable or unfavorable to the CIA; and their relative attitude to the "business" of intelligence. A final chapter considers the question: do these Hollywood texts appear to function ideologically to "normalize" the CIA? If so, might this suggest the further hypothesis that many CIA movies assist audiences with reconciling two sometimes fundamental opposites: often gruesome covert CIA activity for questionable goals and at enormous expense, on the one hand, and the values and procedures of democratic society, on the other.This interdisciplinary book will be of much interest to students of the CIA/Intelligence Studies, media and film studies, US politics and IR/Security Studies in general.

This book investigates representations of the Central Intelligence Agency (CIA) in Hollywood films, and the synergies between Hollywood product, U.S. military/defense interests and U.S. foreign policy.As probably the best known of the many different intelligence agencies of the US, the CIA is an exceptionally well known national and international icon or even "brand," one that exercises a powerful influence on the imagination of people throughout the world as well as on the creative minds of filmmakers. The book examines films sampled from five decades - the 1960s, 1970s, 1980s, 1990s and 2000s - and explores four main issues: the relative prominence of the CIA; the extent to which these films appeared to be overtly political; the degree to which they were favorable or unfavorable to the CIA; and their relative attitude to the "business" of intelligence. A final chapter considers the question: do these Hollywood texts appear to function ideologically to "normalize" the CIA? If so, might this suggest the further hypothesis that many CIA movies assist audiences with reconciling two sometimes fundamental opposites: often gruesome covert CIA activity for questionable goals and at enormous expense, on the one hand, and the values and procedures of democratic society, on the other.This interdisciplinary book will be of much interest to students of the CIA/Intelligence Studies, media and film studies, US politics and IR/Security Studies in general.

This book analyzes how the Iraqi city of Fallujah became registered as a setting for military heroics in American memory.In 2004, the U.S. military conducted two disastrous assaults in Fallujah, Iraq. More than 1,000 citizens were killed, and, according to the military’s own estimate, upwards of 200,000 people were displaced because of the violence. Yet, despite this human catastrophe, the kind of information that emerged in the public domain during the battle foregrounded the soldier's experience in war while effacing the destruction of Iraqi bodies. This tendency to foreground the soldier body is a direct result of the military’s intervention in what they conceptualize as the "information environment." This book draws from the second assault in Fallujah as a case study to explicate the military’s investment in this perspectival space, which is a consequence both of the mediatization of contemporary war and of the need to influence knowledge considered unfavorable to military operations. In short, the military enlists the media in their targeting process to produce information that is then deployed as persuasive force to modify the beliefs of specific target populations. When the cultural texts produced by the media are remediated in the public domain after war, they can be thought of as martial constructs because they originated during war through the military’s systemized attempt to influence knowledge. That is, these texts trace to a specific battlefield objective. This book reframes the notion of propaganda as a generalized public relations strategy into a more acute and coordinated attempt to decontextualize specific knowledge in the information environment.This book will be of much interest to students of media and communication studies, war studies, memory studies, and international relations.

This book analyzes how the Iraqi city of Fallujah became registered as a setting for military heroics in American memory.In 2004, the U.S. military conducted two disastrous assaults in Fallujah, Iraq. More than 1,000 citizens were killed, and, according to the military’s own estimate, upwards of 200,000 people were displaced because of the violence. Yet, despite this human catastrophe, the kind of information that emerged in the public domain during the battle foregrounded the soldier's experience in war while effacing the destruction of Iraqi bodies. This tendency to foreground the soldier body is a direct result of the military’s intervention in what they conceptualize as the "information environment." This book draws from the second assault in Fallujah as a case study to explicate the military’s investment in this perspectival space, which is a consequence both of the mediatization of contemporary war and of the need to influence knowledge considered unfavorable to military operations. In short, the military enlists the media in their targeting process to produce information that is then deployed as persuasive force to modify the beliefs of specific target populations. When the cultural texts produced by the media are remediated in the public domain after war, they can be thought of as martial constructs because they originated during war through the military’s systemized attempt to influence knowledge. That is, these texts trace to a specific battlefield objective. This book reframes the notion of propaganda as a generalized public relations strategy into a more acute and coordinated attempt to decontextualize specific knowledge in the information environment.This book will be of much interest to students of media and communication studies, war studies, memory studies, and international relations.

This book explores the interface between terrorism and the internet and presents contemporary approaches to understanding violent extremism online.The volume focuses on four issues in particular: terrorist propaganda on the internet; radicalisation and the internet; counter campaigns and approaches to disrupting internet radicalisation; and approaches to researching and understanding the role of the internet in radicalisation. The book brings together expertise from a wide range of disciplines and geographical regions including Europe, the US, Canada and Australia. These contributions explore the various roles played by the Internet in radicalisation; the reasons why terroristic propaganda may or may not influence others to engage in violence; the role of political conflict in online radicalisation; and the future of research into terrorism and the internet. By covering this broad range of topics, the volume will make an important and timely addition to the current collections on a growing and international subject.This book will be of much interest to students and researchers of cyber-security, internet politics, terrorism studies, media and communications studies, and International Relations.

This book explores contemporary propaganda and mainstream Western news media, with reference to the Ukraine crisis.It examines Western media narratives of the immediate causes of the crisis, the respective roles of those who participated in or otherwise supported the demonstrations of 2013–2014 – including US-backed NGOs and rightist militia – and the legitimacy, or otherwise, of the destabilization of the democratically elected Yanukovych government. It considers how the crisis was contextualized with reference to broader themes of competition for power over Eurasia and the Washington Consensus. It assesses accounts of the role of Russia and of ethnic Russian Ukrainians in Crimea, Odessa and the Donbass and traces how Western mainstream media went out of their way to demonize Vladimir Putin. The book deconstructs prevailing Western narratives as to the reasons for the shooting down of Malaysian Airways flight MH17 in July 2014, and counters Western media concentration on the issue of culpability for the attack with an alternative narrative of egregious failure to close down civilian air space over war zones. From analysis of these discourses, the book identifies principles of post-2001 Western conflict propaganda as these appeared to play out in Ukraine.This book will be of much interest to students of propaganda, media and communication studies, Russian and Eastern European politics, security studies and IR.

This book explores contemporary propaganda and mainstream Western news media, with reference to the Ukraine crisis.It examines Western media narratives of the immediate causes of the crisis, the respective roles of those who participated in or otherwise supported the demonstrations of 2013–2014 – including US-backed NGOs and rightist militia – and the legitimacy, or otherwise, of the destabilization of the democratically elected Yanukovych government. It considers how the crisis was contextualized with reference to broader themes of competition for power over Eurasia and the Washington Consensus. It assesses accounts of the role of Russia and of ethnic Russian Ukrainians in Crimea, Odessa and the Donbass and traces how Western mainstream media went out of their way to demonize Vladimir Putin. The book deconstructs prevailing Western narratives as to the reasons for the shooting down of Malaysian Airways flight MH17 in July 2014, and counters Western media concentration on the issue of culpability for the attack with an alternative narrative of egregious failure to close down civilian air space over war zones. From analysis of these discourses, the book identifies principles of post-2001 Western conflict propaganda as these appeared to play out in Ukraine.This book will be of much interest to students of propaganda, media and communication studies, Russian and Eastern European politics, security studies and IR.

This book explores the state of European foreign conflict reporting by public-sector broadcasters, post-Cold war and post-9/11.It compares the values of three television news providers from differing public systems: BBC’s News at 10, Russia’s Vremya and France 2’s 20 Heures. The book examines how these three news providers have reported and broadcast the ongoing Israeli–Palestinian conflict, which pre-dates both the change in East-West relations and the events of 9/11. In doing so, the work identifies and analyses the role of public and state-aligned broadcasters and illustrates how certain news values are consistently prioritised by the broadcasters and the effect this has on how news stories are portrayed. The book is divided into two parts. Part I focuses on 2006 to 2008 and provides a detailed quantitative overview of the broadcasters’ news values. Part II provides an update of the analysis by examining coverage of the war in Gaza 2014 and discusses the findings from audience research into perceptions of this latter war. This book explains that not only do hierarchies in news values exist in foreign conflict reporting but that they are never arbitrary and can be explained, in part, by the structure of the broadcasters and by events occurring within, or associated with, the reporting country, resulting in nationally differentiated perceptions of conflict throughout the world. This book will be of much interest to students of media studies, war and conflict studies, Middle East politics and international relations in general.

This book examines the online memory wars in post-Soviet states – where political conflicts take the shape of heated debates about the recent past, and especially World War II and Soviet socialism. To this day, former socialist states face the challenge of constructing national identities, producing national memories, and relating to the Soviet legacy. Their pasts are principally intertwined: changing readings of history in one country generate fierce reactions in others. In this transnational memory war, digital media form a pivotal discursive space – one that provides speakers with radically new commemorative tools. Uniting contributions by leading scholars in the field, Memory, Conflict and New Media is the first book-length publication to analyse how new media serve as a site of political and national identity building in post-socialist states. The book also examines how the construction of online identity is irreversibly affected by thinking about the past in this geopolitical domain. By highlighting post-socialist memory’s digital mediations and digital memory’s transcultural scope, the volume succeeds in a twofold aim: to deepen and refine both (post-socialist) memory theory and digital-memory studies.This book will be of much interest to students of media studies, post-Soviet studies, Eastern European Politics, memory studies and International Relations in general.