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Das Picknick von Bucklebury: ein Genrebild erfolgreicher Herrschaftsdiskurse im Medienzeitalter. Eine dokumentarische Analyse
Abstract
In diesem Beitrag wird ein alltägliches Medienprodukt – ein PR-Foto – im Sinne der dokumentarischen Methode nach Ralf Bohnsack (2011) analysiert. Die exemplarische Fotografie wird hierbei als ein Dokument ihres Entstehungsprozesses und eines in sie eingeschriebenen „Habitus“ verstanden, der die Struktur- und Rahmenbedingungen von Akteuren und ihres Handelns in der Gesellschaft widerspiegelt und produziert. Bei dem Bild handelt es sich um die im Sommer 2013 verbreitete und inzwischen als weithin „ikonisch“ aufgefasste Ablichtung eines scheinbar privaten Familienidylls des Herzogs und der Herzogin von Cambridge, William und Catherine, und ihres neugeborenen Sohnes George auf einer Wiese in Bucklebury. * Ergänzende Informationen finden sich unter https://www.hdm-stuttgart.de/science/view_beitrag?science_beitrag_ID=274
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This book reveals how visual representations of racialized motherhood shape and reflect national citizenship. By means of a sustained engagement with Roland Barthes’s suturing of race, death, and the maternal in Camera Lucida, the book contends that the contradictory essence of the photograph is both a signifier of death and a guarantor of resurrection. The book explores the implications of this argument for racialized productions of death and the maternal in the context of specific cultural moments: the commemoration of Princess Diana in U.S. magazines; the intertext of Toni Morrison’s and Hollywood’s Beloved; the social and cultural death in teen pregnancy, imaged and regulated in California’s Partnership for Responsible Parenting campaigns; and popular constructions of the “Widows of 9/11” in print and televisual journalism. Taken together, these various visual media texts function in American Pietàs as cultural artifacts and as visual nodes in a larger network of racialized productions of maternal bodies in contexts of national death and remembering. To engage this network is to ask how and toward what end the racial project of the nation imbues some maternal bodies with resurrecting power and leaves others for dead. In the spaces between these different maternities, states this book, U.S. citizen-subjects are born—and reborn.
“Known for being known,” iconic photographs are widely circulated and symbolically powerful images that catalyze public discussion and are etched into the fabric of collective memory for succeeding generations—or so the literature postulates. Based on a multi-method research (including focus groups and a national survey), our study aimed to identify the most prevalent domestic-Israeli and foreign (non-Israeli) iconic news photographs that are recognized by the Israeli public, and to expose key features of their place in Israeli collective memory. We found that only a handful of images were recalled by a majority of people. These are images of conflict, trauma and triumph, which inspired mostly emotional reactions, especially among the eldest, who also demonstrated higher recognition scores. This article examines what such differences in recognition and reactions between photographs and between groups of individuals mean for theories of collective memory and the presumed mnemonic power of visual media.
Claudia Auer entwickelt eine Theorie der Public Diplomacy, die handlungstheoretische Ansätze mit makrosoziologischen Perspektiven zusammenführt. Detailliert analysiert sie einen bislang kaum erforschten Bereich kommunikativen Handelns und zeigt gleichzeitig, dass mit der sozialtheoretischen Grundlegung nicht nur Public Diplomacy, sondern verschiedene Formen strategischer und öffentlicher Kommunikation theoretisch erfasst werden können. Ihre Überlegungen zum Entwurf einer Theorie der PR und des Journalismus lassen erkennen, dass diese auch in solchen Forschungsfeldern zu neuen und weiterführenden Erkenntnissen führen können, die bereits durch Sozialtheorien gut erfasst worden sind.
Der Inhalt
• Empirische Rekonstruktion der Public Diplomacy - Berufspraxis in Deutschland
• Analyse der Public Diplomacy Forschung
• Sozialtheoretische Grundlegung von Public Diplomacy
• Überlegungen zur Übertragbarkeit der Theorie auf PR und Journalismus
Die Zielgruppen
• Dozierende und Studierende der Medien- und Kommunikationswissenschaft, Politikwissenschaft sowie Soziologie
• Praktikerinnen und Praktiker aus dem Bereich Auswärtige Kultur- und Bildungspolitik
Die Autorin
Claudia Auer promovierte am Institut für Medien und Kommunikationswissenschaft der Technischen Universität Ilmenau. Sie arbeitet im Bereich Corporate Communications eines deutschen Automobilzulieferers.
Die dokumentarische Bild- und Videointerpretation stellt einen inzwischen vielfach erprobten und bewährten methodischen Zugang zu stillen und bewegten Bildern dar. Dabei geht es insbesondere darum, dem Bild in seiner spezifischen Eigenart, also als Ausdruck sprachunabhängiger und körpergebundener Ausdrucksformen, gerecht zu werden. Dies kann an ausgewählten Forschungsbeispielen für Studierende und ExpertInnen leicht verständlich und gut nachvollziehbar vermittelt werden. Das Buch wendet sich an Studierende und ExpertInnen im Bereich qualitativer Methoden in den gesamten Sozial- und Kommunikationswissenschaften. Es dient sowohl der forschungspraktischen Fundierung und Anleitung qualitativer Bild-, Video- und Filminterpretation als auch der Vermittlung qualitativer Methoden in der Lehre. Der Autor: Prof. Dr. rer. soc., Dr. phil. habil. Ralf Bohnsack, Dipl.-Soz., Leiter des Arbeitsbereichs Qualitative Bildungsforschung an der Freien Universität Berlin.
Dieser Beitrag soll zum einen Basisideen des Imagebegriffs in multidisziplinärer Handhabung aufzeigen, und er soll zum anderen die Funktion von Images in Public Relations als Sondertypus öffentlicher Kommunikation (Publizistik) darstellen. Nach einigen notwendigen begrifflichen, theoretischen und methodischen Manövern versuche ich die These zu begründen, daß Images in der Publizistik als Mechanismen der Vereinfachung dienen, wobei sie in besonderem Maße die Fortsetzung öffentlicher Kommunikation gewährleisten. Als Vereinfachungsmechanismen der Public Relations stehen Images in Interrelation zur speziellen Funktion dieser Form der Publizistik in der Gegenwartsgesellschaft.
One of the most salient features of our culture is that there is so much bullshit. Everyone knows this. Each of us contributes his share. But we tend to take the situation for granted. Most people are rather confident of their ability to recognize bullshit and to avoid being taken in by it. So the phenomenon has not aroused much deliberate concern. We have no clear understanding of what bullshit is, why there is so much of it, or what functions it serves. And we lack a conscientiously developed appreciation of what it means to us. In other words, as Harry Frankfurt writes, "we have no theory." Frankfurt, one of the world's most influential moral philosophers, attempts to build such a theory here. With his characteristic combination of philosophical acuity, psychological insight, and wry humor, Frankfurt proceeds by exploring how bullshit and the related concept of humbug are distinct from lying. He argues that bullshitters misrepresent themselves to their audience not as liars do, that is, by deliberately making false claims about what is true. In fact, bullshit need not be untrue at all. Rather, bullshitters seek to convey a certain impression of themselves without being concerned about whether anything at all is true. They quietly change the rules governing their end of the conversation so that claims about truth and falsity are irrelevant. Frankfurt concludes that although bullshit can take many innocent forms, excessive indulgence in it can eventually undermine the practitioner's capacity to tell the truth in a way that lying does not. Liars at least acknowledge that it matters what is true. By virtue of this, Frankfurt writes, bullshit is a greater enemy of the truth than lies are.
Research Highlights and Abstract
This article provides
A ‘zeitgeist’ analysis of how the Coalition leadership tried to make the most of Britain's ‘big year’ of 2012, particularly in terms of the government's ‘prosperity agenda’; Rich empirical data about high profile, government-wide trends in British promotional strategies and practices in the context of austerity; Analysis of the consequences of these promotional activities from a number of perspectives, including: GREAT as an alternative to existing promotional structures; strategies for drawing upon national identity in support of economic growth; disciplining techniques for enforcing brand identity; approaches to co-branding corporate and governmental Britain; the metrics used to demonstrate impact.
The GREAT campaign is one of the most ambitious national promotion efforts ever undertaken. Timed to make the most of Britain's raised profile during Olympic year, the aim was to promote trade, investment and tourism under a unified identity emphasising British achievements. However, the campaign raises a number of issues. The first is how and why GREAT emerged as an alternative to established structures for soft power, public diplomacy and marketing in the UK. The second is the ways GREAT engages with collective identity through the nationalisation and commodification of symbolic resources. Third is the practices used to include and exclude specific target groups and stakeholders. Fourth is the interaction between economic and symbolic resources, including public-private collaboration and the evidence used to determine impact and value. These themes contribute to an analysis of GREAT that will be of interest to scholars of politics and IR in the UK and internationally.
with revisions by Elizabeth Barry
A B S T R A C T • This article looks at the phenomenon of mass mourning, its manipulation in the media, and its significance in terms of consensus-building and national politics. Did deaths such as Princess Diana's and the unprecedented outpouring of public grief that followed it signal a national 'togetherness' and communal spirit? Or was this apparent national spirit a product of the press, at the cost of a disturbing suppression of dissent? This article asks what recent, highly publicized celebrity deaths and the press reaction to them tell us about the state of our media, their preoccupations and the celebrity culture that they help to create. •
Wissenschaftliches Kolloquium vom 19. bis 22. April 2007 in Weimar an der Bauhaus-Universität zum Thema: ‚Die Realität des Imaginären. Architektur und das digitale Bild'
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