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Julie Fedor

This article explores a key claim underpinning Russian official memory politics, namely, the notion that Russia’s past (and especially the role it played in the Second World War) is the object of a campaign of “historical falsification” aimed at, among other things, undermining Russian sovereignty, especially by distorting young people’s historical consciousness. Although “historical falsification” is an important keyword in the Kremlin’s discourse, it has received little scholarly attention. Via an analysis of official rhetoric and methodological literature aimed at history teachers, I investigate the ideological functions performed by the concept of “historical falsification.” I show how it serves to reinforce a conspiratorial vision of Russia as a nation under siege, while simultaneously justifying the drive toward greater state control over history education.

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Introduction

Remembering the Second World War in Post-Soviet Educational Media

Barbara Christophe

Analyzing representations of the Second World War in Russian—and in one case, Lithuanian—educational media, the contributions to this special issue respond to three important anniversaries: the eightieth anniversary of the signing of the Molotov–Ribbentrop Pact in 2019, the seventy-fifth anniversary of the Second World War victory in 2020, and the eightieth anniversary of the German invasion of the USSR in 2021. Moreover, they investigate the commemoration of historical events which clearly gained in significance after the collapse of the Soviet Union. It was only in the mid-1990s that post-Soviet Russia first introduced annual parades on Victory Day, 9 May, which used to take place only every five years during Soviet times. And it was again the government of Boris Yeltsin that expanded the Russian mnemonic calendar and introduced the Day of Mourning on 22 June, the day Germany invaded the USSR in 1941. Finally, the articles in this special issue also intervene in a lively academic debate on the political and cultural significance of the single most important affair in post-Soviet memory cultures—a term used here explicitly in order to avoid invoking the idea of a culturally coherent social space, but rather to denote all the different forms and modes of recalling the past enacted by a broad range of different actors, at times openly competing with each other. In an attempt to carve out the specific shape of these interventions, I will begin with an outline of the main achievements and lines of argument in the impressive number of recent studies that have explored the dynamics of remembering the Second World War, usually referred to as the Great Patriotic War in post-Soviet Russia. I will then present an overview of the contributions to this volume.

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Introduction

Reading Primers and Political Change in European Countries around 1945

Wendelin Sroka and Simona Szakács-Behling

This introduction addresses the origins, general assumptions and intentions of the special issue. The guest editors show how reading primers published and used around the end of the Second World War in several European countries may serve as an object of study in different disciplinary contexts. They present a broad working definition of the reading primer as an educational medium that lends itself to interdisciplinary research which takes into account aspects such as visual and textual content, materiality, and societal contexts of production, distribution and usage. The editors further highlight characteristics of current research into primers and argue in favor of more comparative approaches that reveal transnational dimensions of textbooks designed to teach children how to read and write.

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Preface

JEMMS Relaunch

Editorial Committee

Ten years after launching the Journal of Educational Media, Memory, and Society (JEMMS) in 2009, it seems appropriate to look back and assess the journal’s achievements, review its purpose, and address prospects for the coming years. As the only journal of its kind dedicated to the dissemination of international educational media research in the humanities, JEMMS has provided a platform for authors from sixteen countries on seven continents, including Chile, South Africa, Macedonia, and China.

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Introduction: World Knowledge and Non-European Space

Nineteenth Century Geography Textbooks and Children’s Books

Andreas Weiß

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Introduction

Textbooks in Periods of Political Transition after the Second World War

Kira Mahamud Angulo and Anna Ascenzi

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Introduction

Educational Films: A Historical Review of Media Innovation in Schools

Eckhardt Fuchs, Anne Bruch, and Michael Annegarn-Gläß

Translator : Nicola Watson

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Felicitas Macgilchrist, Barbara Christophe, and Alexandra Binnenkade

This special issue of the Journal of Educational Media, Memory and Society explores memory practices and history education. The first point of departure for the texts collated here is that memory (whichever concept we use from the current range including collective memory, cultural memory, social memory, connected memory, prosthetic memory, multidirectional memory, travelling memory and entangled memory) is a site of political contestation, subject formation, power struggle, knowledge production, and community-building. Our second point of departure is that history education is a site where teachers and pupils as members of distinct generations engage with textbooks and other materials as specific forms of memory texts that guide what should be passed on to the younger generation. As editors, we solicited papers that investigate how what counts as “worth remembering” in a given context is reproduced, negotiated and/or interrupted in classrooms and other educational practices. This introduction aims to sketch the overarching understanding of memory practices which guide the contributions, to point to the purchase of attending explicitly to the “doing” of memory, to highlight the difference between our approach to history education and approaches focusing on historical thinking, and to introduce the six articles.

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Muhammad Ayaz Naseem and Georg Stöber

The concept of identity has evolved from an essentialist notion of a dominant group (which largely disregards the existence of plural identities or “patchwork identities” and their contextuality)2 into a notion that recognizes the discursive and fluid constitution of identities that are “constantly in the process of change and transformation.”3 Beyond academic debate about definitions, identity remains a relevant category in politics and society. Identity politics mobilize followers and supporters and may foster nation building. They are seldom unchallenged, for different discourses of identity often struggle for supremacy.

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Introduction

New Perspectives in Children's Film Studies

Bettina Kümmerling-Meibauer

The study of children’s films is a complex and demanding issue, involving a range of critical, educational, psychological, cultural, institutional, and textual aspects. “Children’s films” can be a broad and ambiguous term; there are films aimed at children, films about childhood, and films children watch regardless of whether they are children’s films or films targeted toward adults. The rise of an expanding children’s film industry (including the accompanying merchandizing products) in the United States and many European countries presents a further challenge to the study of children’s films. In some countries, children’s films are included in the general school curriculum; this indicates that children’s films are a key part of children’s culture that requires educational attention. Another fact to which the inclusion of children’s films in school curricula points is the crucial role of these films in the development of media literacy, due to the fact that children come to recognize and understand the typical features of films by means of a gradual process which takes a substantial amount of time. The acquisition of a “film language” presupposes the ability to comprehend the symbolic meanings of images, the close relationship, upon which films depend, between a moving image, sound, and speech, and prototypical properties of films, such as shots, zooms, cuts, camera perspective, and voice-over.