This article aims at demonstrating the relevance of the concept of ‘media witnessing’ as an analytical lens for the study of audience engagement with media reports of distant suffering. Drawing upon existing theoretical work on the concept, the article approaches media witnessing as a distinct modality of audience experience and constructs an analytical framework for its study. Applying this framework on an empirical study of Greek audiences, the article provides a typology of witnessing, consisting of four different types of audience engagement with media stories of human suffering. This typology illustrates the complexities inherent in the practice of watching suffering on television, as well as the limitations of mediated cosmopolitan imagination.
Major humanitarian crises and disasters broadcasted around the world are often accompanied by an upsurge of global reactions and outpouring of aid pledges. As such, they become symbolic of a 'global community' and 'cosmopolitan solidarity'. The present paper examines this kind of cosmopolitanism and the role of the media in its construction, providing an empirical dimension to a hitherto largely theoretical discussion. Drawing upon focus group discussions with audience members in Greece, the paper will explore how media disasters are being experienced by audiences and the ways this experience is implicated in their perceptions of the world and their place in it. Focusing on the constant interplay between cosmopolitan and national discourses in participants' responses, it will be argued that cosmopolitanism and nationalism cannot be sharply juxtaposed, but cosmopolitanism is often framed through the national.
Current accounts on globalization and transnational media flows have reformed traditional debates on media events and have raised questions on the integrative potential of media events at a global level. This article addresses this issue by employing the case of global disasters as media events and exploring some of the characteristics of the global public sphere surrounding them in one of its particular actualizations: that of the Greek audience. The article is empirically grounded on focus group discussions through which questions of perception and framing of disasters as well as of the potential of promotion of global solidarity will be addressed.
This paper discusses the concept of hospitality as a metaphor for thinking about the relationship between European publics and refugees. In particular, it explores how audiences in Greece discuss the European ‘refugee crisis’ and how, in doing so, construct hierarchies of deservingness of hospitality among different migrant groups reaching the Greek borders. Drawing upon empirical material from focus group discussions, the paper argues that these hierarchies of migrants draw upon media narratives, broader political discourses and cultural beliefs about religion, gender and class. Hospitality, as a metaphor for engaging with the stranger, is illustrated as embedded in national sociohistorical contexts, underlined by stereotypes both about the ‘other’ as well as the national self, and ultimately limited in constructing relations of solidarity between hosts and newcomers.
Academic literature on media events is increasingly concerned with their global dimensions and the applicability of Dayan and Katz's (1992) theoretical concept in a post-national context. This paper contributes to this debate by exploring the Eurovision Song Contest as a global media event. In particular, we employ a perspective from 'inside the media event', drawing upon empirical material collected during the 2014 Eurovision final in Copenhagen and focusing on the experiences of fans attending the contest. We argue that the ESC as a media event is experienced by its fans as a cosmopolitan space, open and diverse, whereas national belonging is expressed in a playful way tied to the overall visual aesthetics of the contest. However, the bounded and narrow character of participation render this cosmopolitan space rather limited.
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