The roles of “old” and “new” media tools and technologies in the facilitation of violent extremism and terrorism

This chapter describes and discusses the roles of media tools and technologies in the facilitation of violent extremism and terrorism. Rather than focusing on how media report on terrorism, we investigate how extremist and terrorist groups and movements themselves have exploited various “traditional” and “new” media tools, from print to digital, outlining the significance that they have had on extremists’ ability to mark territory, intimidate some audiences, connect with other (sympathetic) audiences, radicalize, and even recruit. Underlined is that violent extremists and terrorists of all stripes have, over time, used every means at their disposal to forward their communicative goals. Also worth noting is that ‘old’ media tools are not extinct and while ‘new’ media play a prominent role in contemporary violent extremism and terrorism, ‘old’ tools—everything from murals to magazines—continue to be utilized in tandem with the former

Dietrich Bonhoeffer: Further Reflections on a Pastor, Martyr, Prophet, Spy

I first heard the name Dietrich Bonhoeffer during the summer that I turned 25. I had just returned to faith in a serious and moving way and one day the man who led me along that journey gave me a copy of Bonhoeffer’s classic book, The Cost of Discipleship. He asked if I’d ever heard of Bonhoeffer. I told him that I hadn’t, and he told me that Bonhoeffer was a German pastor and theologian who because of his faith had stood up for the Jews and had gotten involved in the plot to assassinate Adolf Hitler. He said that Bonhoeffer was killed in a Concentration Camp just three weeks before the end of the war. Was there really a Christian whose faith had led him to heroically stand up against the Nazis at the cost of his own life? It seemed that the only stories I had heard of people taking their faith seriously were negative ones. This was something new to me, and I instantly wanted to know more about this courageous hero

Don Quixote, intermediality and remix: Translational shifts in the semiotics of culture

In Yuri Lotman’s terms intertextual relationships as active dialogues among texts and cultures should be the starting point for an analysis of the concepts of intermediality, cross-mediality and transmediality. This article considers adaptations and remakes as intermedial processes and remix practices as transmedial ones. The article demonstrates how the processes of transposition, remake and remix may sometimes be only partial, or in other instances they may shift towards entirely different textual systems/levels. At metasemiotic levels, the strategies that build the narrative worlds may either conceal or emphasize the interdependent relations between source and target texts, as well as between their cultural semiotic systems and their emergent ‘metatexts’ of self-description. In the second half of the article brief semiotic analyses will be presented in order to investigate mechanisms of the intermedial and transmedial networks that start from a literary text, Don Quixote by Cervantes, and continue to cinema and new digital media

Lovers, Filmmakers, and Nazis: Fritz Lang\u27s Last Two Movies as Autobiography

Fritz Lang\u27s last two movies are autobiographies of a peculiar kind. He remakes two early films, transforming them into allegorical representations of the intense romantic and political triangle which shaped his early career the triangle connecting the director Lang, the screenwriter Thea Von Harbou (who was also his wife), and the Nazi Party

Lovers, Filmmakers, and Nazis: Fritz Lang\u27s Last Two Movies as Autobiography

Fritz Lang\u27s last two movies are autobiographies of a peculiar kind. He remakes two early films, transforming them into allegorical representations of the intense romantic and political triangle which shaped his early career the triangle connecting the director Lang, the screenwriter Thea Von Harbou (who was also his wife), and the Nazi Party

In the Underworld: A Darkly Comic Operetta Program [2014]

Written by Germaine Tillion Directed by Meghan Brodie Musical Direction & English Lyric Adaptation by Jonathan Marro Arrangements & Composition by Christophe Maudot Translation by Annie & Karl Bortnickhttps://digitalcommons.usm.maine.edu/theatre-programs-2013-2014/1000/thumbnail.jp

Kinky Friedman and His Influence on Jewish American Music

Kinky Friedman changed American pop music and Country and Western music’s presentation of Jews. Because of his satirical and counter culture lyrics, the idea that Jews could be Jewish on stage without having to point out they were Jewish was a part of the stage persona that Friedman adopted. His biting lyrics pointed to the derogatory ways that Americans view the other and what he saw as hypocritical Christian values. Additionally, he is set the stage to address painful issues in music, writing and performing the first popular song about the Holocaust. Dubbed the founder of “Redneck Rock” or a leader of “progressive country music,” his influence on music stars who came after him is undoubted, as he opened the door for musicians to be minorities and sing about being minorities

Accessory to Genocide? An Exploration of America’s Response to the Holocaust

In considering America\u27s reaction to the Holocaust, scholars must address serious charges that America bears some culpability for what happened. A survey of prominent historical studies and contemporary documents such as newspaper articles, committee reports, and other government documents prove America had some knowledge of the Holocaust, but did little in response. Considering the United States\u27 knowledge of the situation in Germany, America\u27s restrictive immigration policy in the 1930s makes her at least partially responsible for some of the lives lost. Other measures to stop the Holocaust, such as rescue, ransom, or bombing attempts, would not have been feasible or effective