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All for brownie points!: Reappraising the new commercial media and media-terrorism nexus in the context of the Mumbai attacks of 26/11
Abstract
The emergence of a global new media model aided by the technological revolution of the twenty-first century, economic globalization
and political neo-liberalism, has transformed the traditional old model of media as a democratic pillar of public service
into a new profit-oriented model of media as a corporate business enterprise primarily dependent on advertisement revenues.
This change in the media ownership has had significant negative implications for media coverage and content. In this changed
scenario of eclipse of investigative and critical journalism and triumph of infotainment journalism, this new corporate media,
especially in the post-9/11 era, has nonetheless made itself particularly vulnerable to the terrorist manipulation of mass
media as an advertisement agent for terror. Through the specific case study of the media coverage of Mumbai terror attacks
on November 26, 2008, this study attempts to reveal how the commercial agenda of the new media ends up furthering the terrorist
agenda, albeit in immediate short run, of inculcating mass hysteria, irrational mob fury directed against the state thereby
eroding, however temporarily, popular sovereignty of the state.
... It reinforced the purpose behind the attack, which was to provide a spectacle of carnage to a world audience (Ganor 2005), especially the Indian people. The sensationalized coverage by the media served as a fear multiplier instead of a shock absorber (Mitra 2009), and the incident was proclaimed as war or terror in Mumbai, called the 'Mumbai Terror Attacks' (D'Souza 2008). After US Senator John McCain called it 'India's 9/11', it came to be known as '26/11' (Roy 2009). ...
The 26/11 Mumbai attacks in India severely impacted the already strained Indo–Pak political relations and fuelled prejudice against the common people of Pakistan. Since the attacks, Indian people have found various expressions of collective memory and ways to commemorate the incident. While these serve as a remembrance of the attack, it also reinforces negative attitudes towards Pakistan and its people, hindering any prospects of peace and reconciliation. This article describes a peace education through art initiative implemented in a high school in Mumbai. It draws from a synergy of theoretical concepts in peace, reconciliation and conflict transformation for its curricular framework that has three inquiry processes: Examine–Envision–Envisage . This article describes the implementation and outcomes of the initiative that support the value of an integrated peace- and reconciliation-focused art education pedagogy aimed at promoting reconciliation in relation to ongoing/intractable conflicts. Furthermore, it highlights the importance of addressing negative emotions inherent in ongoing conflicts and how empathy might contribute towards reducing prejudice towards the ‘Other’.
... Not only super stars but Muslims super stars are also being used by Bollywood in portraying Muslims adversary for society. 6 The main purpose of conducting this study is to examine the portrayal of Islam and Muslims in Bollywood. A considerable depiction of Muslims and Islam is observed in Bollywood movies and researchers desire to explore the nature and extent of this representation of Islam and Muslims in Bollywood, especially after the incident of 26/11. ...
Abstract
The objective of this study is to examine the portrayal of Muslims in Bollywood movies from 2009-2013. Muslims are being stereotyped with negative characters since 9/11, through Bollywood movies. As course of time, these movies have been started to misrepresent Muslims, not only in a severe manner but also to a large extent. This negative portrayal of Muslims in these movies has been raised sharply since Mumbai attacks of 26/11. Now, Bollywood continuously portray non-Indian Muslims and some time Indian Muslims adverse to society. To many extent Muslims are being portrayed as disloyal, adverse, cruel, evil, terrorist, distrustful and anti-national sort of person. This film industry has seen a huge growth during last decade or so and having a significant global penetration with large international audience. Popular superstars mostly Muslims are casted in anti-Islam movies and have strong effects on viewer’s minds. This study is being performed to systematically discover that how and to what extent Bollywood is portraying the Muslims’ image. This research is based on content analysis of ten Bollywood movies and 90 Muslim characters are selected from these movies. Eleven categories are formulated to justify the hypothesis. Framing theory is used to analyze the media contents. Coding sheet has been formed which consists of three slants positive, negative and neutral to check the content and to obtain the result statistically. The overall findings reveal that 24.66% Muslim characters are positively portrayed, 31.81% are neutral and 43.23% are negatively represented. Those Muslim characters that are negatively portrayed are sometimes conservative and sometimes modern but positive Muslim character is always portrayed as modern. The results demonstrate that Bollywood is setting agenda to misrepresent the image of Muslims and Islam not only in India but all over the world.
Key Words: Muslim, Islam, Bollywood Movies, 26/11
This essay examines Barkha Dutt, host of the popular NDTV news talk show ‘We the People’, as a symbolic portal into the rise of television news celebrity culture in India's altering mediascape. The essay first situates Dutt's work as a reporter and a talk show host within the context of Indian television journalism's role in the democratic public sphere and then explores the implications of Dutt's class and gender identities for the hierarchies of celebrity status in commercial television news. In the end, this case study of Barkha Dutt argues that greater attention to India's exploding journalism industry – its star personalities, political economy, critiques of news programmes' and talk shows' representations and audience responses – will revitalize and enrich the evolving trajectories of television studies.
The “act of terror” in Mumbai in November 2008 has been widely regarded as “India's 9-11.” This article proposes that the proper setting of the “Mumbai attacks” is neither provided by what occurred in New York in 2001 nor by accentuating how the event engaged an audience of “distant others.” It is, similarly, not made sufficiently comprehensible through representations of Mumbai as the most cosmopolitan space in India and of India as “shining.” It, rather, consists in the violent founding of the Indian Republic and the traumatizing and traumatic vision that was inscribed through and into it. Such an alternative rendering of the “Mumbai attacks” offers a critical purchase on the notion of “governing traumatic events.” It also situates the analysis in the tension between assumptions about an immanence of trauma and depictions of trauma as eruption and (dis)rupture. While the independence of India equals the traumatic in its function as a founding act or moment, the “Mumbai attacks” ought to be regarded as confirmation of reified and presently hegemonic forms of political life.
Repeated presentations of commercials save production costs and increase their persuasive effectiveness. This observation holds empirically up to a point; however, there is now ample proof that excessive presentations of a commercial decrease persuasive effectiveness, which may lower or reverse the benefits realized from the earlier advertising expenditures. This survey reports several social-psychological analyses of the manner and means by which message repetition might influence persuasion. Two experiments that were designed to select from among these accounts are reported. We conclude our survey by focusing on the cognitive-response formulation, because it provided the most parsimonious account of the data.
During the past 40 years there have been many instances in which media coverage of terrorist events was problematic and irresponsible, evoking public criticism and antagonizing the authorities. This article aims to shed light on the intricate relationships between government, media, and terrorists. Through close scrutiny of irresponsible actions of some organs of the media in crisis situations in the USA, the U.K., Israel, Canada, and Germany, it argues that important lessons should be learned, indicating the need to develop a set of guidelines for responsible media coverage of terror. One might think that in this triangle of government, media, and terrorists the media would side with the government in the fight against terror. This study shows that this was not always the case.
Ayman al Zawahiri, the second most important leader of al Qaeda, has in recent years become the public face and voice of the organization. He has appeared on more tapes and issued more public statements than Osama bin Laden. Although the internal dynamics of the organization and the current condition of bin Laden are largely unknown, Zawahiri, a veteran jihadist and al Qaeda’s theoretician, sometimes seems to be the person in charge.
The author begins by challenging Michel Wieviorka's dismissal of the claim that there is a symbiotic relationship between terrorism and the media. Terrorists' manipulation and exploitation of the media is shown to play a crucial part in their propaganda war. The article concludes by arguing that voluntary self‐restraint and self‐regulation by the media are the best policy options for a democratic society in regard to the media's response to terrorism, but that the mass media need to work harder at devising measures of self‐restraint that are both appropriate and effective.
This volume is based on a symposium held in 1979 that focused on four major areas of terrorism: ethics, "victimology," law enforcement personnel training, and research. In the decade of the 1970s there were approximately 2,000 deaths from international terrorist incidents. While this is but a tiny fraction in the overall scheme of worldwide wars and violence, the impact of terrorist activities made the issue a common public concern and created a new subscience. As a problem that affects human lives and minds, terrorism has become a medical concern. Terrorist acts tend to recur largely in about ten or so countries. Western democracies are highly represented on the list and communist countries infrequently, with Eastern bloc countries and Cuba rarely reporting terrorist incidents.The terrorist operation of hostage taking is one that has captured the most attention and has invited the involvement of the psychiatrist as a participant in the
Because few of us experience terrorism firsthand, the media play an important role in informing us when major incidents occur. Because of its instantaneity and its ability to reach many audiences at once, the electronic media and particularly television can have a significant impact on the various players who become involved in a particular crisis. This article examines the kinds of effects that television can have on four sets of actors most commonly involved in terrorist crises or major incidents: politicians, police, the public and the print media. While some of these effects can be negative, others can be positive. As a whole, however, television tends to diminish the quality of political discourse, with its emphasis on simplification and dramatization. In time of crisis, this can have serious consequences on decision‐makers who depend upon an informed public to understand the issues at stake and the limits on government action. The article ends by examining briefly how these effects relate to the increasing role of the private sector in public safety and security.
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