Framing African Genocide


Book Description

This paper explored how genocides in Rwanda in 1994 and Sudan in 2004 were framed in three American midwestern newspapers, namely the St. Louis Post-Dispatch, the Cleveland Plain Dealer and the Wisconsin State Journal. Looking through the lens of postcolonial theory, the paper analyzed a sample of newspaper texts in both a quantitative and qualitative manner, describing some of the ways the frames used in the text evolved, with particular reference to time, gender and space. It was found that the papers examined covered genocide in Rwanda more prominently; there were more stories about Rwanda than Sudan, and those stories were longer and more detailed. The coverage of Rwanda was more intimate, personal, detailed and comprehensive than that of Sudan. Rwanda was also depicted in more gory and violent terms than Sudan. Sudan was framed in neutral, political terms. Women were overrepresented as passive victims of the violence.




Framing Africa


Book Description

The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military odds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), ‘failed states’ (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination.




Framing Genocide


Book Description

This work provides needed historical, theoretical and practical insight to recent and current trends in conflict reporting and management. It expands the literature on framing theory in relation to conflict perception, interpretation and management from mass media and policy perspectives.




Critical Perspectives on African Genocide


Book Description

Genocide has become a part of the contemporary global expression of political violence. After all, every continent has had its genocide, but genocide in Africa and the African diaspora is distinctly different from those in Europe or the West. This text approaches genocide from within the context of Africa and the African diaspora to examine political and philosophical after-effects of global colonialism. As genocidal state violence has become prominent through colonialism, its appearance in Europe and the West have developed sharply against how it appears in colonized spaces within the African diaspora. This text argues that such a difference in orientation is needed to develop new concepts, critical approaches, and perspectives on the intersections between colonialism, political violence, and anti-black politics as a way of critically understanding global genocide and the presence of continual genocidal violence.




Genocides by the Oppressed


Book Description

In the last two decades, the field of comparative genocide studies has produced an increasingly rich literature on the targeting of various groups for extermination and other atrocities, throughout history and around the contemporary world. However, the phenomenon of "genocides by the oppressed," that is, retributive genocidal actions carried out by subaltern actors, has received almost no attention. The prominence in such genocides of non-state actors, combined with the perceived moral ambiguities of retributive genocide that arise in analyzing genocidal acts "from below," have so far eluded serious investigation. Genocides by the Oppressed addresses this oversight, opening the subject of subaltern genocide for exploration by scholars of genocide, ethnic conflict, and human rights. Focusing on case studies of such genocide, the contributors explore its sociological, anthropological, psychological, symbolic, and normative dimensions.




The Path to Genocide in Rwanda


Book Description

Uses unique field data to offer a rigorous explanation of how Rwanda's genocide occurred and why Rwandans participated in it.




To Save Heaven and Earth


Book Description

In To Save Heaven and Earth, Jennie E. Burnet considers people who risked their lives in the 1994 Rwandan genocide of Tutsi to try and save those targeted for killing. Many genocide perpetrators were not motivated by political ideology, ethnic hatred, or prejudice. By shifting away from these classic typologies of genocide studies and focusing instead on hundreds of thousands of discrete acts that unfold over time, Burnet highlights the ways that complex decisions and behaviors emerge in the social, political, and economic processes that constitute a genocide. To Save Heaven and Earth explores external factors, such as geography, local power dynamics, and genocide timelines, as well as the internal states of mind and motivations of those who effected rescues. Framed within the interdisciplinary scholarship of genocide studies and rooted in cultural anthropology methodologies, this book presents stories of heroism and of the good done amid the evil of a genocide that nearly annihilated Rwandan Tutsi and decimated the Hutu and Twa who were opposed to the slaughter.




Memory and Justice in Post-Genocide Rwanda


Book Description

A critical exploration of the steps taken to promote peace, reconciliation and justice in post-genocide Rwanda.




The National Frame


Book Description

Based on long-term ethnographic research in the art worlds of Istanbul and Berlin, The National Frame rethinks the politics of art by focusing on the role of art in state governance. It argues that artistic practices, arts patronage and sponsorship, collecting and curating art, and the modalities of censorship continue to be refracted through the conceptual lens of the nation-state, despite the globalization of the arts. By examining discussions of the civilizing function of art in Turkey and Germany and particularly moments in which art is seen to cede this function, The National Frame reveals the histories of violence on which the production, circulation, and, very understanding of art are predicated. Karaca examines this darker side of art in two cities in which art and its institutions have been intertwined with symbolic and material dispossession. The particularities of German and Turkish contexts, both marked by attempts to claim modern nationhood through the arts; illuminate how art is staked to memory and erasure, resistance and restoration; and why art has been at once vital and unwieldy for national projects. As art continues to be called upon to engage the past and imagine different futures, The National Frame explores how to reclaim art’s emancipatory potential.




The Postcolonial African Genocide Novel


Book Description

In The Postcolonial African Genocide Novel, Chigbo Anyaduba examines fictional responses to mass atrocities occurring in postcolonial Africa. Through a comparative reading of novels responding to the genocides of the Igbo in Nigeria (1966-1970) and the Tutsi in Rwanda (1990-1994), the book underscores the ways that literary encounters with genocides in Africa's postcolonies have attempted to reimagine the conditions giving rise to exterminatory forms of mass violence. The book concretizes and troubles one of the apparent truisms of genocide studies, especially in the context of imaginative literature: that the reality of genocide more often than not resists meaningfulness. Particularly given the centrality of this truism to artistic responses to the Holocaust and to genocides more generally, Anyaduba tracks the astonishing range of meanings drawn by writers at a series of (temporal, spatial, historical, cultural and other) removes from the realities of genocide in Africa's postcolonies, a set of meanings that are often highly-specific and irreducible to maxims or foundational cases. The book shows that in the artistic projects to construct meanings against genocide's nihilism writers of African genocides deploy tropes that while significantly oriented to African concerns are equally shaped by the representational conventions and practices associated with the legacies of the Holocaust.