Kraidy, Marwan M

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  • Publication
    Hypermedia Space and Global Communication Studies: Lessons From the Middle East
    (2010-01-01) Kraidy, Marwan M; Mourad, Sara
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  • Publication
    Hypermedia and Governance in Saudi Arabia
    (2006-01-01) Kraidy, Marwan M
    The advent of new media has altered the information dynamics that shape public discourse. Convergence, miniaturization, personalization, interactivity, and mobility have blurred the boundaries between producers, consumers, and regulators of information. The role and impact of old mass media such as radio, television and the press, has changed as a result of their interaction with electronic mail, cellular phones, digital cameras, among others. Through an examination of public discourse surrounding Star Academy, the most popular and most controversial program in Arab television history, this article explores how dynamics of information among different media have shaped the Arab public sphere. Based on five months of fieldwork in 2004, the analysis focuses on electronic fatwas, press commentary, new legislation to “protect morality”, SMS messages from fans, cellular phone voting, participatory television talk–shows, and media marketing strategies. The article examines new articulations among political, cultural religious and commercial factors that have been enabled by new technologies and the impact of these interactions on Arab public discourse. The analysis suggests a model of inter–media dynamics.
  • Publication
    The Revolutionary Public Sphere: The Case of the Arab Uprisings
    (2017-01-01) Kraidy, Marwan M; Krikorian, Marina R
    A comprehensive picture of dissent in the Arab uprisings requires an understanding of how revolutionaries have represented themselves and how various media, digital and otherwise, were incorporated in these communicative processes. Together, the articles in this Special Issue focus on the myths, ideologies, and histories that inspired slogans, murals, and poems of pointed social relevance and politically potency. Originally presented at the inaugural biennial symposium of what was then the Project for Advanced Research in Global Communication in 2014, these papers explore the creative permutations of symbols, words, images, colors, shapes, and sounds that revolutionaries deployed to contest despots, to outwit each other, to attract attention, and to conjure up new social and political imaginaries. The issue exemplifies one of the fundamental principles undergirding the institutional mission of the Center for Advanced Research in Global Communication: a robust dialogue between theoretical advances on one hand, and deep linguistic, cultural, historical knowledge of the world region under study, on the other. To read this special issue of Communication and the Public in full, visit http://journals.sagepub.com/toc/ctpa/2/2.
  • Publication
    Popular Culture as a Political Barometer: Lebanese-Syrian Relations and Superstar
    (2006-01-01) Kraidy, Marwan M
    On the evening of Monday, August 11, 2003, two spontaneous riots erupted in Beirut. They occurred around the same time and were triggered by the same event. About an hour earlier, Future TV had announced voting results after the semi-final of its flagship program, Superstar, the Arabic version of Pop Idol (UK) or American Idol (US). The first riot erupted at the Beirut Hall, a concert venue where the Superstar finale had just concluded. Several people passed out, including one the mothers of two semi-finalists and the third semi-finalist herself who lost consciousness after learning she had moved on to the finale. The second riot unfolded when fans of the ousted semi-finalist gathered spontaneously in front of Future Television studios to protest the decision. What gave these riots their passion and poignancy was the fact that the Lebanese contestant Melhem Zein was eliminated while the Syrian candidate Rowayda Attiyeh was elevated to the finale.
  • Publication
    Die Politisierung des Unterhaltungsfernsehens in der arabischen Welt / The Politicization of Entertainment Television in the Arab World
    (2006-01-01) Kraidy, Marwan M
    Die Reality-TV-Show Superstar, eine arabische Version von Deutsch- land sucht den Superstar, ist auch im Libanon und in Syrien extrem erfolgreich. Das Unterhaltungsformat wird in den Jahren 2003 bis 2006 unversehens zur Bühne für die politischen Umwälzungen in den beiden Ländern und dient als eine Art Gradmesser für ihre politischen Beziehungen.
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    "Turkish Rambo": Geopolitical Dramas as Narrative Counter-Hegemony
    (2013-11-05) Kraidy, Marwan M; Al-Ghazzi, Omar
    Arabs and Turks share a historically complicated relationship. After 400 years of Ottoman imperialism over Arab lands that lasted until after World War 1, Turkish leader Mustafa kemal Atatürk's secularized Turkey and cut linguistic ties with Arab culture. Secularism, nationalism and NATO membership during the second half of the 20th century further distanced Turkey from Arab countries. This changed in 2001 with the rise of the Justice and Development Party (known by its Turkis acronym AKP). Incorporating electoral politics in a pro-business platform reflecting the AKP's pious and entrepreneurial constituency in Anatolian cities, the AKP has consolidated power in electoral victories since 2002. In the past decade, Turkey's forceful foreign policy, public criticism of Israeli actions, increased economic entanglement in the Arab world, and overall rising status, has been discussed via the trope of "neo-Ottomanism." Despite Prime Minister Recep Tayyip Erdoğan's autocratic tendencies and his government's worrisome imprisonment of numerous journalists and academics, the AKP appeared to be unshakable until popular demonstrations in Gezi park in Istanbul in 2013 put Erdoğan on the defensive.
  • Publication
    Convergence and Disjuncture in Global Digital Culture: An Introduction
    (2017-01-01) Kraidy, Marwan M
    In the 1980s and 1990s, the question “Is there a global culture?” fueled heated debates as intellectual opponents debated the social, political, economic, and cultural consequences of globalization. Guest-edited by Marwan M. Kraidy, this Special Section of the International Journal of Communication by global communication scholars revisits the discussion on global culture in light of the digital revolution. Originally presented at CARGC’s second Biennial Symposium in April 2016, these articles do not pretend to provide a comprehensive answer to the existence or lack thereof of a global digital culture. Rather, they consider this question as an intellectual provocation to revisit how the universal relates to the particular, the global to the local, the digital to the material. Questions guiding these articles include: How do networks transmute individual autonomy and the sovereignty of the body? How is digital culture fomenting disjuncture across the globe in dissident, marginal, or rogue formations? How is the digital affecting the ways people work and play, how they experience and judge beauty, and how they protest? Most fundamentally, does digitization herald a new chapter in how we understand ourselves? To read this special issue of International Journal of Communication in full, visit http://ijoc.org.
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    The Projectilic Image: Islamic State’s Digital Visual Warfare and Global Networked Affect
    (2017-01-01) Kraidy, Marwan
    Islamic State’s (IS) image-warfare presents an auspicious opportunity to grasp the growing role of digital images in emerging configurations of global conflict. To understand IS’ image-warfare, this article explores the central role of digital images in the group’s war spectacle and identifies a key modality of this new kind of warfare: global networked affect. To this end, the analysis focuses on three primary sources: two Arabic-language IS books, Management of Savagery (2004) and O’ Media Worker, You Are a Mujahid!, 2nd Edition (2016), and a video, Healing the Believers’ Chests (2015), featuring the spectacular burning of a Jordanian air force pilot captured by IS. It uses the method of ‘iconology’ within a case-study approach. I analyze IS’ doctrine of image-warfare explained in the two books and, in turn, examine how this doctrine is executed in IS video production, conceptualizing digital video as a specific permutation of moving digital images uniquely able to enact, and via repetition, to maintain, visual and narrative tension between movement and stillness, speed and slowness, that diffuses global network affect. Using a theoretical framework combining spectacle, new media phenomenology, and affect theory, the article concludes that global networked affect is projectilic, mimicking fast, lethal, penetrative objects. IS visual warfare, I argue, is best understood through the notion of the ‘projectilic image’.