The South Lebanon conflict saw two decades of sustained resistance by the Lebanese to the Israeli occupation. The Lebanese media's role in achieving liberation over this period is significant, through campaigns conducted to unify the Lebanese people against their foreign occupier and in support of the Lebanese resistance in South Lebanon. This book investigates the culture and performance of Lebanese journalism in this setting. It is a story about journalism told by a journalist who is also using tools of scholarship and research to narrate her story and the story of her fellow journalists. Zahera Harb is also presenting here an alternative interpretation of propaganda under conditions of foreign occupation and the struggle against that occupation. She identifies the characteristics of 'liberation propaganda' through the coverage and experience of the two Lebanese TV stations Tele Liban and Al Manar within the historical, cultural, organisational and religious contexts in which they operated, and how these elements shaped their professional practice and their news values.
The term conflict has often been used broadly and uncritically to talk about diverse situations ranging from street protests to war, though the many factors that give rise to any conflict and its continuation over a period of time vary greatly. The starting point of this innovative book is that it is unsatisfactory either to consider conflict within a singular concept or alternatively to consider each conflict as entirely distinct and unique; Narrating Conflict in the Middle East explores another path to addressing long-term conflict. The contributors set out to examine the ways in which such conflicts in Palestine and Lebanon have been and are narrated, imagined and remembered in diverse spaces, including that of the media. They examine discourses and representations of the conflicts as well as practices of memory and performance in narratives of suffering and conflict, all of which suggest an embodied investment in narrating or communicating conflict. In so doing, they engage with local, global, and regional realities in Lebanon and in Palestine and they respond dynamically to these realities.
The South Lebanon conflict saw two decades of sustained resistance by the Lebanese to the Israeli occupation. The Lebanese media's role in achieving liberation over this period is significant, through campaigns conducted to unify the Lebanese people against their foreign occupier and in support of the Lebanese resistance in South Lebanon. This book investigates the culture and performance of Lebanese journalism in this setting. It is a story about journalism told by a journalist who is also using tools of scholarship and research to narrate her story and the story of her fellow journalists. Zahera Harb is also presenting here an alternative interpretation of propaganda under conditions of foreign occupation and the struggle against that occupation. She identifies the characteristics of 'liberation propaganda' through the coverage and experience of the two Lebanese TV stations Tele Liban and Al Manar within the historical, cultural, organisational and religious contexts in which they operated, and how these elements shaped their professional practice and their news values.
The term conflict has often been used broadly and uncritically to talk about diverse situations ranging from street protests to war, though the many factors that give rise to any conflict and its continuation over a period of time vary greatly. The starting point of this innovative book is that it is unsatisfactory either to consider conflict within a singular concept or alternatively to consider each conflict as entirely distinct and unique; Narrating Conflict in the Middle East explores another path to addressing long-term conflict. The contributors set out to examine the ways in which such conflicts in Palestine and Lebanon have been and are narrated, imagined and remembered in diverse spaces, including that of the media. They examine discourses and representations of the conflicts as well as practices of memory and performance in narratives of suffering and conflict, all of which suggest an embodied investment in narrating or communicating conflict. In so doing, they engage with local, global, and regional realities in Lebanon and in Palestine and they respond dynamically to these realities.
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