Annette Hill per il secondo seminario Isa-Topic 2018

11 mag 2018
autore: Ces.Co.Com

Games_of_Fear

QUANDO: 18 Maggio 2018, h.10
DOVE: Sala Rossa, via Marsala 26

Secondo seminario di Media and Fear nell’ambito di Isa-Topic 2018, ospite la Prof.ssa Annette Hill (Lund Universtity Sweden) con un intervento dal titolo: “Re-narrativising fear: documentary engagement with The Act of Killing and The Look of Silence”.

Il seminario rientra nel progetto “La politica della paura” a cura di: Piergiorgio Degli Esposti, Antonella Mascio, Pierluigi Musaro’, Roberta Paltrinieri, Paola Parmiggiani, Lucia Serena Rossi, Lucio Spaziante.

Current Status of Research on Media and Fear
Fear is a key factor in today’s media landscape. A dynamics of fear frequently frames the news about the environment or immigration, it dominates discourses of security and surveillance, and it permeates people’s lived experiences in precarious times. What follows is a short overview of the current status of research on media and fear, before focusing on one example of the cultural dynamics of fear within documentary film and audience engagement.In Fear: a Cultural History, Joanna Bourke (2005) asks us to look at fear from different perspectives, addressing historical and cultural contexts to fear as it is associated with pain and suffering, or associated with war, conflict zones and victims of violence. She argues that throughout history people in power have vested interests in promoting or reducing fear and risk. In relation to the media, such as journalism and political communication, fear can be linked to visible and invisible risks and threats that can be used in re-enforcing or resisting systemic and symbolic power relations. The politics of fear, both past, present and future, cast a shadow on the media and its power to shape and influence publics and audiences. Media often trade in fear at different levels of intensity, working within the political economy of emotions and anxieties about ourselves and others, or about individual lives and public institutions. There is the strategic generation and management of fear in journalism, propaganda, advertising public relations, and political campaigns. For example, David Altheide in Terrorism and the Politics of Fear (2006) highlights the discourses of fear in news media and how dominant frames for representing fear impact on social experiences. The Politics of Fear (Wodak 2015) addresses the strategies, and half-truths in promoting fear in extreme right wing ideologies. We see the trade in fear in the rise of populism within Europe or America, where the subject positions of ‘us and them’ can lead to xenophobia and political extremes. Media and fear connects with the policy and ethics of surveillance across governmental, commercial and private spheres (Ball et al 2012). The increased use of surveillance in crime and policing, intelligence gathering and war, or within commercial data gathering and geo location tracking, all highlight the pervasive presence of surveillance and the difficult questions that need to be asked regarding regulation and privacy. Recent research on social activists, for example, indicates how alternative political movements fear not only digital surveillance of their online identities and actions, but also the surveillance of these movements through infiltration by undercover police (Ball et al 2012). Such research shows how fear of digital surveillance connects with trust, morality and ethics in political culture. The social construction of fear and insecurity in media representations, policies and regulations, and in popular culture, can highlight conflict and violence, and discourses of identity and othering. Such work underscores Appadurai’s argument about the geography of anger (2006), where the dynamics of culturally motivated violence impact on feelings of inclusion and exclusion in mediated and public spheres. In terms of popular culture, fear is a dominant feature in popular storytelling such as crime, fantasy or horror genres. In their research on the mnemonic imagination Keightley and Pickering (2012) note how imaginative engagement or disengagement with popular culture is of vital importance, integrating the practices of narrativisation with lived experience. Their research brings to the fore processes of imaginative work in memory studies, where nostalgia, or intergenerational remembering have powerful symbolic meaning in shaping the past, how we live in the present and imagine the future. For example, the recent rise in television drama about the cold war era, Stranger Things (Netflix 2016) or The Americans (FX, 2014-), signifies how memories of past conflicts and fear of the other become caught up in current concerns about the war on terror, or the pervasiveness of government surveillance in contemporary society and culture. The imaginative re working of fear in popular storytelling is a resource for identity construction and making sense of everyday life in the uncertain times of late modern society.

Scarica Locandina


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