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INTERACTIVE MEDIA (2) answer(s).
 
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ID:   131557


Blogging identities on Israel/Palestine: public intellectuals and their audiences / Sucharov, Mira; Sasley, Brent E   Journal Article
Sasley, Brent E Journal Article
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Publication 2014.
Summary/Abstract Drawing on our research and blogging on Israel and the Israeli-Palestinian conflict, we make three claims about the role of scholar-bloggers in the social media age. First, as scholar-bloggers with some degree of ethno-national attachments related to our area of expertise, we contend that we are well positioned to issue the kinds of critiques that may resonate more deeply due to the very subjectivity that some perceive as a liability. Second, through the melding of scholarly arguments with popular writing forms, scholar-bloggers are uniquely poised to be at the forefront of public engagement and political literacy both with social media publics and with students. Third, the subjectivity hazard is an intrinsic part of any type of research and writing, whether that writing is aimed at a scholarly audience or any other, and should not be used as an argument against academic involvement in social media. Ultimately, subjectivities of both consumers and producers can evolve through these highly interactive media, a dynamic that deserves further examination.
Key Words Palestine  Israel  Research  Blogging  Social Media Age  Political Literacy 
Interactive Media 
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2
ID:   178332


Mapping Palestine/Israel through interactive documentary / Hudson, Dale   Journal Article
Hudson, Dale Journal Article
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Summary/Abstract Available on publicly accessible websites, interactive documentaries are typically free to use, allowing audiences to navigate through amounts of information too large for standard film or television documentaries. Media literacy, however, is needed to understand the ways that interactive documentaries reveal or conceal their power to narrate. Examining ARTE France’s Gaza Sderot (2008–9), Zochrot’s iNakba (2014), and Dorit Naaman’s Jerusalem, We Are Here (2016), this article discusses documentaries that prompt audiences to reflect upon asymmetries in the power to forget history and the responsibility to remember it by mapping Palestinian geographies that have been rendered invisible. Since media ecologies are increasingly militarized, particularly in Palestine/Israel, interactive documentaries like iNakba and Jerusalem, We Are Here can disrupt Israeli state branding as technologically innovative while minimizing risk of surveillance by avoiding the use of location-aware technologies that transform interaction into tracking.
Key Words Palestine  Historiography  Israel  Maps  Documentary  Digital surveillance 
Interactive Media  Mobile Media 
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