Since the mid-1990s, the international norms for global development have been redefined under non-governmental organizations’ (NGOs) critical e-mobilizations, powered by new media. International governmental organizations (IGOs) have been forced to make policy adjustments or concessions, resulting in new IGOs-NGOs policy regimes for consultative consensus building and for protecting people’s economic, social, and cultural rights (ESC) for enhancing social quality. This paper examines the emerging cosmopolitanism in the information age, focusing on NGOs’ advocacy networks, to understand the new media-enhanced participatory regime for global governance. It also illustrates a new form of social participation, as promoted by social quality theory, in the age of e-globalization and the information society. The paper has five parts. After outlining the globalization project threatening ESC rights, the second section examines critical engagements of NGOs and IGOs for human rights promotion. Parts three and four discuss, respectively, the struggles for ESC rights in shaping new ethics and norms for global development, and the variations of new social media mobilization. The paper ends with critical remarks on the project for larger freedom and human rights for all.
A New Epoch of Cosmopolitanism for Larger Freedom?
In this article I apply policy frame and visual analysis to explore UNICEF’s advocacy for girls’ education on Instagram. I consider a purposefully selected sample of photos and captions instagrammed from UNICEF’s official account so as to describe the policy framing of girls’ education policy, and population targeting. A parallel goal of this article is to interrogate the ethics of using image-intensive new media data in education policy research. My findings expose the ways in which girls’ images and experiences are used to promote UNICEF’s agenda and advocacy for girls’ education. I show the need for adapting protocols for working ethically with publicly available social media data in education policy research.
A Comparative Case Study of the Mass Mobilization Process in France and South Korea
This article explores why people adopt different processes to participate in mass mobilizations, using the 2006 Anti-CPE (labor law) Movement in France and the 2008 Candlelight Movement against American Beef Imports in South Korea as case studies. In France, initiators and participants followed the ‘ready-made’ way: left-wing organizations led the whole process of mass mobilizations. In contrast, in South Korea, initiators came from ‘nowhere’: they were middle and high school students without any political organizations; participants were ‘tainted’ by the left-wing political line. The key finding of this study is that the levels of demarcation of political lines in people’s everyday life may explain this difference. In France, strong establishment of a political line in people’s everyday life brought fewer new actors, creating less surprise but a solid mobilization; in South Koreas, the less-established political line in people’s everyday life attracted more new actors, creating more surprise but ‘frivolous’ mobilizations.
This article examines the Cuban mobile cinema campaign in the 1960s as a case study for thinking about the relationship between cinema and mobility. I examine the rhetoric around mobile cinema in Cuban journals such as Cine Cubano, and in the documentary film Por primera vez (For the first time, 1967). I argue that cinema is linked with mobility in two primary ways: as a virtual mobility stimulated by onscreen images, and as a more literal mobility expressed by the transportation of film into remote rural sites of exhibition. These two kinds of mobility reflect the hopes and ambitions of filmmakers and critics energized by the resurgent nationalism of the Cuban revolution, and the excitement of cinema as a “new” technology in rural Cuba.
Todd Samuel Presner
In this article, I will discuss how my own work on a project called "Hypermedia Berlin"—a Web-based study of Berlin's "cultural geography"—can be situated in a lineage that goes back to Hoffmann's reflection on media and represents another instantiation of what Hinrich Seeba has called "Berlin" as a site for the development of new cultural-critical methodologies for interdisciplinary German Studies.
Bureaucracy, New Media and the Infrastructural Forms of Doubt
Michael Vine and Matthew Carey
Conspiratorial thought is one of the hallmarks of late modernity. This article focuses on the wealth of conspiracy theories that crystallized around chemtrails and the Californian drought to examine the genre more generally. It suggests that the particular constellation of certainty and doubt present in conspiracy arguments is a product of the fundamentally mimetic nature of conspiratorial thought, which espouses the contours of the infrastructural environment in which it emerges. In our case, this infrastructural environment is that of bureaucracy on the one hand and the architecture of the internet on the other. Each of these infrastructures helps to shape conspiratorial thought in a distinct manner, and the confluence of the two imparts to the genre its particular flavour.
On Funeral and Mourning Practices in Digital Art
The practical and imaginative possibilities offered by art works and art strategies have always been interesting for anthropological research. Analyzing an artistic endeavor that understands the dead as social software, the article investigates contemporary conceptualizations of death and grieving within modern informational economies. This article ethnographically considers the etoy “Mission Eternity Project“ which, among other artforms, has created a mobile sepulchre to investigate and challenge conventional practices of the disposal of the dead and of memorialization. The article seeks to generate terms for discussing how new artistic, digital and forensic technologies can reconfigure the more ordinary ways of dealing with the dead. The analysis is significantly informed by my previous anthropological work on practices of the collection, classification and DNA analysis of dead bodies in postconflict Serbia and Tasmania.
Educational Media in Context(s) Simone Lässig
This article provides an introduction to the aims, methods, and interdisciplinary approach of this new journal, elucidating the traditions of international textbook research and the function of educational media as illuminating sources for various academic disciplines. Textbooks and curricula in particular, which are not only state-approved but also of a highly condensed and selective nature, are obliged to reduce the complexities of the past, present, and future onto a limited number of pages. Particularly in the humanities, which often deal with concepts of identity and portrayals that may be more open to interpretation, textbooks can become the subjects of controversial debate, especially in relation to societal shifts such as globalization and immigration. In this regard, this journal intends to illuminate the situations in which educational media evolve, including their social, cultural, political, and educational contexts. The emergence of new, particularly digital, educational media marks new modes of knowledge production. The Journal of Educational Media, Memory, and Society (JEMMS) invites analyses that reach beyond the printed page and even beyond the institution of the school itself.
Normativity in the Postdigital Museum
This article is an attempt to frame a way of seeing museums after the digital revolution. By introducing the concept of the ‘postdigital’, its aim is to evidence a tipping point in the adoption of new media in the museum—a moment where technology has become normative. The intention is not to suggest that digital media today is (or, indeed, should be) universally and equally adopted and assimilated by all museums, but rather to use the experience of several (national) museums to illustrate the normative presence digital media is having within some organizational strategies and structures. Having traced this perceived normativity of technology in these localized institutional settings, the article then attempts to reflect upon the consequences that the postdigital and the normative management of new media have for our approach to museological research.
Adrian Martin, Mise en Scène and Film Style: From Classical Hollywood to New Media Art, Palgrave Close Readings in Film and Television (Basingstoke: Palgrave Macmillan, 2014), xviii + 235 pp., £60 (hardback).
John Gibbs, The Life of Mise-en-Scène: Visual Style and British Film Criticism, 1946–78 (Manchester: Manchester University Press, 2013), viii + 280 pp., £65 (hardback).
Lucy Fife Donaldson, Texture in Film, Palgrave Close Readings in Film and Television (Basingstoke: Palgrave Macmillan, 2014), ix + 194 pp., £55 (hardback).