No abstract

This article discusses the dilemmas documentary filmmakers face when acting upon the cosmopolitan ethos in a context of ongoing civil warfare and peace facilitation from the international society. This ethos is well known and accepted among Western audiences. When applied outside the Western hemisphere, the perspective of human-interest stories tends to get lost among audiences attached to the conflict. Instead, these stories may easily become identified as new public diplomacy on behalf of the participants on the ‘perceptual battlefield’ of war. The authors focus upon how this can be a challenge for Western states involved in peace processes in the same conflicts, especially for those small states that have little hard power and have to rely on gaining the trust of the conflicting parties. The article uses a case study of the Norwegian documentary My Daughter the Terrorist about the civil war in Sri Lanka as an example. The film became the epicentre of a major controversy during a critical stage in the peace process facilitated by the Norwegian government. The authors suggest the concept of diffused war can be translated as diffused peace facilitation to describe its effect on the peace process.

This article examines the role of the news media through a case study of the narratives about the 2014 Ukraine crisis in three major Norwegian newspapers. The conflict also contained a ‘war’ between competing strategic narratives from the involved actors, with a potential for cross-national cascades into the Norwegian narrative. The authors’ focus is on the framing of Russia during the most dramatic month of March 2014. They applied the images related to Wendt’s cultures of anarchy (see Social Theory of International Politics, 1999) to classify the framing of Russia. The Norwegian media narrative was relatively consistent in framing Russia as choosing a path leading away from being a rival of Norway and the West, towards becoming their enemy. This was close to the narrative of the Norwegian government and in clear opposition to the Russian narrative. While this supports Hoskins and O’Loughlin’s ‘arrested war’ hypothesis (published in Information, Communication & Society, 2015), it also raises questions about professional media norms.

Digital storytelling in election campaigns is a relatively recent phenomenon, which needs to be investigated in order to enhance our understanding of changes and developments in modern political communication. This article is an analysis of how the Norwegian-Pakistani Labour politician, Hadia Tajik, has used digital storytelling to construct her political identity, and a discussion of the consequences of her experiments with this genre. The focus is on the five video stories she released during the 2009 parliamentary election campaign and the reactions they evoked on the net and in the traditional media during the same (time) period. During the 2009 electoral campaign Tajik moved from being a relatively unknown politician to becoming a political household name and the only member of the new Parliament with a migrant background. The digital stories were instrumental in this development for numerous reasons, the most important probably being that they gave her prime time television coverage. Norwegian news media have in general been very concerned with Web 2.0 and Tajik’s videos were regarded as an innovative kind of political communication. The videos also functioned as an effective marketing tool on the net. As an integral part of her extensive viral network, they attracted numerous views and they were with a few exceptions met with positive reactions. This was probably due to their relatively high production values and their catch-all communication strategy that downplayed her ethnic, educational and political background and emphasized her universal human qualities.

No abstract