Media and Memory

מחקר זה מעוגן בתפיסה המבקשת לבחון את התקשורת והמשפט כמערכות פרשניות ומעניקות משמעות, הפועלות בהתייחס להקשרים תרבותיים. המחקר מיישם תפיסה זאת באמצעות בחינת האופנים שבאמצעותם שתי המערכות - המשפט והעיתונות - הבנו ומסגרו את זיכרון פרשת רצח הנער דני כץ ז"ל. ניתוח זה מאפשר לעמוד על מאפייני הפעולה של כל אחת מן המערכות כסוכנות של זיכרון קולקטיבי, על האופן שבו שתי המערכות מעצבות את זיכרון העבר, ועל הדרך שבה מיוצגים פסקי הדין בעיתונות, ומנגד, האופן שבו מיוצגת העיתונות בפסקי הדין.
הביקורת השכיחה כנגד הסיקור התקשורתי של מערכת המשפט, היא שהעיתונאים מפנימים את ערכי המערכת, ובכך נעשים חלק מתרבות השיח המשפטי. ממצאי המחקר מלמדים על תמונת מצב הפוכה: לא רק שמרבית הקולות בעיתונות לא אימצו את קולה של מערכת המשפט, אלא שהללו תקפו את המערכת, עד כדי "שפיטה מזכה" של המורשעים. בכך תרמו העיתונאים לחתירה כנגד ה"ריטואלים המתקנים" שהציעה המערכת המשפטית לשיכוך המתח ואי הבהירות סביב הפרשה. לטענתנו, ביקורת עיתונאית זאת התאפשרה, במידה רבה, משום שבמהלך השנים נשמעו קולות מאתגרים, שטענו לחפות המורשעים, מתוך מערכת המשפט עצמה. וכך, בדומה לעולה ממחקר היחסים שבין העיתונות לממסד הפוליטי - קיים קשר הדוק וישר בין חשיפה של אי-הסכמות              פנים-מערכתיות לבין נכונות של העיתונות למתוח ביקורת על המערכת

Leif Kramp untersucht erstmals umfassend die Gedächtnisrelevanz des Massenmediums Fernsehen sowie den archivischen und musealen Umgang mit der Fernsehgeschichte. Anknüpfend an die interdisziplinären Zweige der Gedächtnisforschung analysiert der erste Band die Bedeutung des Fernsehens seit Beginn des regelmäßigen Programmbetriebs in Deutschland und Nordamerika unter gedächtnistheoretischer Perspektive. Damit legt dieser Band den Grund für eine differenzierte Bewertung des Fernsehens als Medium des Erinnerns und Vergessens. Auf Basis einer breiten empirischen Erhebung bei zahlreichen Institutionen in Deutschland, Kanada und den USA befasst sich der zweite Band mit dem Status Quo und den Perspektiven der Verwaltung und Nutzung von Überlieferungen aus der Fernsehgeschichte. Kramp analysiert die maßgeblichen Problemstellungen, mit denen sich Museen und Archive konfrontiert sehen: von Fragen der Auswahl, Bewahrung und Zugänglichkeit von Fernsehüberlieferungen bis hin zu ihrer Präsentation und dem Medienwandel, und diskutiert Strategien für die Arbeit von Fernsehmuseen im digitalen Medienzeitalter.

In his book, Alexander Jakobidze-Gitman traces the evolution of the attitude toward Stalinism in post-Soviet cinema. Initially, the post-Soviet-era film-makers focused primarily on the "demonic" aspects of Stalin, which were, incidentally, first attributed to him even during his lifetime. Later, another cinematic tradition, which established itself by the mid-2000s, pictured the Stalinist era as both tragic and heroic: characters displayed exceptional humanness, not so much despite but rather because of the adverse circumstances. At the same time, some filmmakers sought to represent certain aspects of Stalinism with an ironic distance. Together, these two trends successfully incorporated many vertiges of that era into present-day mass culture. An alternative attitude was taken by art-house cinema: instead of trying to reconstruct history it sought to create specific means of expression to portray the very act of remembering.

In Transmitted Wounds, Amit Pinchevski explores the ways media technology and logic shape the social life of trauma both clinically and culturally. Bringing media theory to bear on trauma theory, Pinchevski reveals the technical operations that inform the conception and experience of traumatic impact and memory. He offers a bold thesis about the deep association of media and trauma: media bear witness to the human failure to bear witness, making the traumatic technologically transmissible and reproducible.

Taking up a number of case studies--the radio broadcasts of the Eichmann trial; the videotaping of Holocaust testimonies; recent psychiatric debates about trauma through media following the 9/11 attacks; current controversy surrounding drone operators' post-trauma; and digital platforms of algorithmic-holographic witnessing and virtual reality exposure therapy for PTSD--Pinchevski demonstrates how the technological mediation of trauma feeds into the traumatic condition itself. The result is a novel understanding of media as constituting the material conditions for trauma to appear as something that cannot be fully approached and yet somehow must be.

While drawing on contemporary materialist media theory, especially the work of Friedrich Kittler and his followers, Pinchevski goes beyond the anti-humanistic tendency characterizing the materialist approach, discovering media as bearing out the human vulnerability epitomized in trauma, and finding therein a basis for moral concern in the face of violence and atrocity. Transmitted Wounds unfolds the ethical and political stakes involved in the technological transmission of mental wounds across clinical, literary, and cultural contexts.

In dealing with digital games that engage with the past, one inevitably steps into the academic field of historical game studies (Chapman 2016a). Nonetheless, of course, ‘history’ is not the only proper theoretical perspective to look at the past. Using the fantasy game Fire Emblem: Three Houses (Intelligent System & Koei Tecmo 2019) as a case study, I will suggest looking at digital games from the perspective of memory studies, understanding them as ‘memory-play-spaces’ in which players continuously engage with memory-making.

The text presents the results of a study of stories about everyday life during the last years of the socialist past (1983-1989) by representatives of a specific professional group-'Estrada musicians'. The main goal is to highlight the differences in the two regimes of history in the memories of the socialist popular culture. The first regime of remembrance (1990-1992) is a time of the emotionally charged anti-communist speech in the media like the Democracy newspaper, and vice versa-a strong defense of socialist values in the Duma newspaper. The second regime of remembrance is after 2010, when "nostalgia for socialism" stands out as one of the dominant emotions.

This paper seeks to map theoretical and practical preoccupations in the contemporary relationship between places of commemoration and more abstract spaces of Holocaust memory. While the range of this topic is broad, I narrow the scope by interrogating specific ways in which the Auschwitz-Birkenau Memorial and Museum engages with Holocaust-related visual content on Instagram. The direction in which the memory of the Holocaust is moving and the ubiquity of social media posts, forces institutions like the Auschwitz-Birkenau Museum to valorize, react, and engage with new media content. Therefore, the case study of 'selfies from Auschwitz' resonates in productive ways with questions of individual and institutional socio-historical agency in curatorship of 21 st century Holocaust memory, as well as discussions on guardianship and claims to ownership of memory in the digital age. Contending that the Museum asserts itself as an increasingly visible actor in the transnational social media Holocaust discourse, I trace the history of the Museum's social media presence and engagement.

The aim of this article is to present a succinct review and evaluation of the main areas of contention in the false memory debate and, from this basis, to suggest ways in which the best from both sides can be utilized. We examine the potential pitfalls of therapy in terms of the fallibility and suggestibility of autobiographical memory and therapists and therapeutic techniques as the architects of false memories. We then evaluate the case for false memory formation examining if some researchers hold misconceived views of psychotherapy, if experimental studies lack ecological validity, and the effect of trauma on memory. Finally, we explore how the potential pitfalls of therapy can be avoided in practice, reflecting on the usefulness of British Psychological Society guidelines, how clinicians can implement research findings, and how research on the false memory debate can be improved. We conclude that the way forward is researcher–clinician collaboration in the development of ecologically valid research paradigms.

The images of atrocity, either analog or digital, are always the trace of an encounter between the gaze of a photographer or a cameraman and a human being suffering from the painful effects of man-made violence. The archive images resulting from such an encounter raise some inevitable questions: who took them and for what purpose? Is it possible to retrace the process that led to these shots? What do they hide behind what the eye can see? This special issue of Cinéma & Cie will not only focus on the production of such images, but also on their persistence on the synchronic level (in the media: newspapers, magazines, cinema, television, the Internet, museums…) as well as on the diachronic level (across time: mutation, re-editing, inversion…). From propaganda to counter-propaganda, from purposes of memory to artistic aims, the circulation of these images proves that repetition always implies difference.

Examines how the cultural memories of nonviolent struggle are articulated through the protest songs that the women at  Greenham Common Women's Peace Camp created in the 1980s which have since been shared and globalized through digital cultures. Combines auto-ethnography with archival analysis. Proof copy from edited collected, Cultural Memories of Nonviolent Struggles: Powerful Times edited by Anna Reading and Tamar Katriel.

This paper examines two case studies: the Holocaust and the Spanish democratic transition. The article examines both historical episodes as examples of "monuments of the past", in relation to public uses of history and politics of memory. The text discusses the essential characteristics that have defined their presence on a large scale. Highlights, to this end, an overview that addresses the key of these historiographical debates and the main strategies of their media representation.
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Este trabajo aborda dos estudios de casos claramente diferenciados: el Holocausto judío y la Transición democrática española. El artículo analiza ambos episodios históricos como muestras de “monumentalización del pasado”, en relación con los usos públicos de la Historia y las políticas de memoria. Aborda cuáles han sido las características esenciales que han definido su presencia a gran escala. Para ello, establece una panorámica general que aborda las claves del debate historiográfico y las estrategias de representación mediática.

Investiga as relacoes entre jornalismo a memoria. Para tanto, parte-se dos pressupostos colocados por Maurice Halbwachs, de que a memoria e sempre construida a partir do presente, e tambem aquele colocado por Michael Pollak, de que a memoria esta sempre em disputa por diversos grupos que interferem diretamente na sua construcao. Partindo destas premissas teoricas e somando a elas os conceitos sobre os usos contemporâneos da memoria tais como apresentados por Andreas Huyssen e Pierre Nora, e feita uma analise dos cadernos especiais publicados em O Globo e na Folha de S. Paulo sobre os 40 anos de Maio de 1968. Por se tratar de um momento historico critico do seculo XX, o objetivo e mostrar como a memoria de 1968 e disputada e reconstruida pelos veiculos.

Shared memory is preserved and transmitted by various mediums, occasionally institutionalized for its transmission and in other cases as collection of personal memories. The environment in which this recognition is done is important, especially today, in the era of internet, which provides new and the multiple means of information.
Internet has fragmented commemoration practices and institutionalized memory culture by offering space for unofficial and personal tribute.1 In this study the focus is on used-created content in a social network, Facebook, with the purpose to understand more about the changes that collective memory undergoes during the presentation of historical figures and event in a social network. The research questions on this article are:
- Which are the tools that Facebook offers to preserve and transmit the collective memory?
- How are the historical figures and events memorized in Facebook?
- Does memory maintain the same characteristics and the same historical and cultural datas?
- Which are the changes and the consequences of the transformation that memory undergoes in social memory?

To answer to the above questions, we focus on two main pillars:
1. Profiles of historical figures, that are made present in different ways, with different data recontextualization in time and space.
2. The commemoration of the birth of the former dictator Enver Hoxha, through the example of the online activity on Facebook.

It is often claimed that modern media massively return the repressed yet unavoidable fact of death, which modernity had institutionalised and placed out of sight. Death is everywhere in the media age: in news, in fiction, and not least in the budding practices of sociality and memory on the internet. This article will revolve around what we may learn about media and death from the vantage point of how memory cultures are currently being transformed. Spanning a heterogeneous terrain, the ‘digital memory ecology’ comprises among other things the construction of a digital afterlife, commemorative communities of grief and remembrance, interaction in guest books, digital candles and commentary fields on digital memorials. This article argues that today death is far from the hidden supplement to culture as Zygmunt Bauman contends or that it is even making a mediated return to us, but is rather ubiquitous in the digital age. As such it is both de-sequestered and deferred. By launching the deliberately ambiguous concept of existential security, the article outlines a research agenda for how we may approach these tendencies.

PAMIĘĆ PROTETYCZNA, 1) w ujęciu Alison Landsberg  oznacza → wspomnienia osobiste jednostek nabywane w rezultacie osobistego → doświadczenia odbioru audiowizualnych i wielozmysłowych wytworów kultury masowej (oglądanie → filmu, serialu telewizyjnego [→ telewizja], zwiedzanie współczesnego → muzeum, zorientowanego na doświadczenie), w formie udramatyzowanej oraz kulturowo przekształconej uobecniających wydarzenia, których dana osoba sama nie przeżyła; 2) angielskie pojęcie prosthetic memory odnajdujemy także w dyskursie nauk społecznych jako określenie wielorakich strategii przekazywania wspomnień za pomocą przedmiotów (→ rzecz), urządzeń, technologii medialnych, stanowiących protezy wspierające → pamięć indywidualną oraz → zbiorową. W drugim przypadku zakres pojęcia silnie interferuje z polem semantycznych pokrewnych kategorii: → nośników pamięci; → implantów pamięci i → mediów pamięci

This study explores the ways in which commercialmedia perceive and manifest their public mnemonic role. It does so via an exploration of the ‘‘memorymenu’’—the contents and flow
of programming—offered by Channel 2, Israel’s leading commercial television channel, on the eve of the country’s Memorial Day for the Holocaust and the Heroism (MDHH),
in which the airing of commercials is banned. In order to do so, the study incorporates a multilevel analysis that probes the structure of entire broadcasting evenings as well as
the narrative building blocks that constitute each item. The study investigates the ways in which commercial media outlets operate in the context of ‘‘commercial vacuums’’ as
they substitute material capital with symbolic capital. This process is illuminated through Channel 2’s inability to work MDHH into its extremely successful routine broadcasting
formulas. The channel’s MDHH broadcasts construct a commemorative narrative that is insulated from day-to-day Israeli public Holocaust memory discourse; hence they operate
as a significant site of Israeli postmemory work. Furthermore, such a narrative not only commemorates the memory of the Holocaust itself but also the ways in which Israeli culture
used to narrate the memory of the Holocaust in the past.

Technological developments have led to a rethinking of how obsolete media should be treated when it becomes relatively inaccessible. This article focuses on Video Home System (VHS) videocassettes in digital culture. Using semi-structured interviews undertaken with people who converted their videocassettes into a digital format, this study explores the notion of participatory and convergence culture. It shows how media innovation results in emergent roles and functions for videocassettes, attributing new experiences and meanings to both digital and VHS formats. Specifically, divergence helps videocassette owners control and manage family memories, strengthening ties between family members and relations between friends. This culminates in the creation of an inherited object of memory. The findings indicate a lack of confidence in technology, especially in its ability to preserve family memories. In addition, it was found that a sort of spiritual power is attributed to videocassettes, ...

"The French contemporary artist Pierre Huyghe enjoys international acclaim, witness the many one-person and group exhibitions in which his work has been featured, and the prizes he has been awarded. His workplace in New York City, where this interview was conducted on January 20th, 2017, is an office where research and thinking take place and not a studio where things are made. The work Huyghe and/or others produce following his directives seems based upon raising questions, but what these are is unclear. Therefore, what the answers are is equally so".

https://www.theartsection.com/pierre-huyghe

Total Recall (Bell and Gemmell, 2009) is a non-fiction book proposing a vision of a complete digital archive of everything we do, see or hear. Cameras and devices would constantly record out experience, creating a digital copy of one’s memory. I read this vision as a contemporary form of autobiography, expressing fantasies of self-representation, mostly the will for erasing the gap between one’s representation and oneself. The vision attempts to create a representation of oneself that would be identical to oneself and capture one’s past experience. Yet this dreamt-of faithful self-representation – direct, ongoing, automatic, objective – merely constitutes further proof of the difficulty inherent in autobiography. The outcome of the attempt to create the most exact representation, would be a dataset from which precisely the subject is absent. The perspective of literary autobiography thus helps shed light on new and evolving contemporary practices.

This article traces the ways in which the British suffragette Emily Wilding Davison was represented in national newspapers between 1913-the year she died-and 2013, the centenary of her death. We consider the various ways that Davison was delegitimised, recuperated and trivialised in four British newspapers throughout the twentieth century and into the twenty-first. In doing so, we provide original insights into the ways that the fight for women's rights has been figured through the mediated historical imagination. We argue that over time, Davison's militant actions – once cast as those of an hysterical lunatic-have come to be legitimised as part of the story of British democracy. However, this discursive shift cannot be straightforwardly celebrated as a progressive move in representations of women's movements, as Davison is frequently invoked to delegitimise contemporary feminism. Our analysis charts the extent to which Davison has been visible (or not) through different historical periods; the specific ways in which Davison's image was transformed along with changes in women's status; and considers the political implications of these (in)visibilities and representations.

O estudo objetiva compreender a memória social do regime militar no Brasil (1964-1985) construída e propagada nos discursos do jornal Folha de S. Paulo. Percurso que procura problematizar mais de meio século da história do jornal ao analisar as efemérides do acontecimento “golpe de 1964” a cada dez anos, até o polêmico caso da ditabranda em 2009. O caso “ditabranda” - que gerou uma série de discussões após a Folha de S. Paulo publicar em editorial (17/02/2009) o termo que qualifica o regime militar vigente no Brasil entre 1964 e 1985 como “brando”, se comparado a outros na América Latina - abriu uma possibilidade única para expandir ainda mais algumas questões referentes aos “usos do passado” na imprensa, a partir do momento em que se ampliou o debate sobre as lembranças de um período recente do país. Desta forma, a análise será pautada, metodologicamente, em uma busca pelos rastros memorativos do jornal no e sobre o
período que, a partir da condição de produção de um discurso inscrito sempre por uma memória discursiva particular aciona aquilo que, seja pelo uso, abuso ou manipulação da lembrança e do esquecimento, contribuiu para (re)construir, em um processo ambíguo e conturbado, a(s) própria(s) identidade(s) do jornal frente àqueles anos.

Building upon the twin premises of the historicity and mediality of memory – individual and collective alike –, this study makes an analytic incursion in the history of memory in terms of the technological media of storing knowledge about the past, i.e. a media-history of memory. The paper aims, in the opening act, at shedding light on the inextricable relationship between memory and the bio-cultural technology available for reserving knowledge, and thus saving the past from oblivion. The study moves on to trace out the succession of the different “technological regimes of memory” emerged in human history, examining how the technology of memory influenced both the formal structure and the modus operandi of collective memory, that is to say, both its structural framework and its regime of functioning.

This study explores Chinese journalists’ discursive practices of nostalgia in the context of transition and “crisis” of media and the journalism profession in order to understand how the journalistic community looks back and forward at such a historical juncture. I conduct a textual analysis of writings of nostalgia produced by journalists and media commentators in a wide range of settings: the commemoration of diseased journalists, resignation letters by former journalists, celebration of media organizations’ anniversaries, and reflections on scandals and crises in the media. The analysis reveals that golden ages emerging from such writings refer to the period of the press reform and the rise of market-oriented media in the mid-1990s and through the early 2000s. Within the interpretive community, the ideal of golden age is constructed to serve as a benchmark for critiquing the state of journalism, enhance the legitimacy of those journalists who embrace the new practices in the new media era, and chant a requiem for both the press reform and the decline of traditional media.

Questo contributo muove da un'analisi comparativa tra la biografia di Alfonso Sabella "Cacciatore di mafiosi" (Mondadori, 2008) e le prime due stagioni della fiction Rai "Il Cacciatore" (2018-2020), tratte dal libro. L'obbiettivo è problematizzare questo processo di traduzione intersemiotica alla luce dell'evoluzione dei modelli d'eroismo dei personaggi. Nel saggio, ricolleghiamo questa evoluzione a una riflessione più generale sulla natura transmediale della memoria collettiva, sempre più legata allo spettacolo del passato costruito dai media, che ibridano tra loro generi diversi. Per situare le tendenze contemporanee della memoria dell'eroismo antimafia all'interno di una genealogia pià articolata, confrontiamo l'autobiografia di Sabella, da un lato, con la biografia di Francesco La Licata su Giovanni Falcone (1993) e, dall'altro, con la letteratura degli anni '00 "impegnata"nel racconto criminale, come Romanzo criminale (2002) di Giancarlo De Cataldo e Gomorra (2006) di Roberto Saviano. Quindi, individuando nella strategia del "racconto testimoniale" i tratti comuni a questi testi, la consideriamo come una base di traduzione narrativa per comprendere il passaggio da questi libri alle fiction, che rivelano il retaggio del crime americano. Al termine dell'analisi, mostreremo che crime contemporaneo e agiografie degli '90, benché prodotti in periodi diversi e riferiti a momenti storici diversi, raccontano i protagonisti del pool antimafia in modo simile, seguendo il modello del martirologio, mentre vie narrative più laiche, seppur già presenti in Sabella (2008), sono ancora da sviluppare.