The 2020 coronavirus pandemic is puzzling from a visual point of view. There are millions of photographs published about the crisis every day, yet we can see the key actor, the virus, only in artistic representations. Most of us also have very restricted access to central sites of the crisis, as intensive care units, nursing homes, meat packing plants and prisons are often not available for photographic representation. At the same time, we are oversupplied by other images that try to capture the "essence" of the moment. This article analyzes three prevalent visual genres in connection with the ongoing pandemic: abstract representations of the virus and public responses to it, images of heroes and sinners, and photographs of the "stage": the iconic spaces including empty public buildings and busy domestic spaces. All these iconic representations try to grasp the "deep meaning" of the crisis through a particular scene or moment. Their expressive surfaces have become our key sources to imagine the coronavirus crisis, and to socially connect in a time of painful and prolonged physical distance.

No abstract

This essay analyzes the power, charm and limitations of Daniel Dayan’s and Elihu Katz’s Media Events: The Live Broadcasting of History (Harvard, 1992). It argues that the book presented a uniquely compelling and alluring concept, but has three limitations: Media Events has a present-centric view of events, a constrained understanding of conflicting narratives in the global context, and it is inattentive to how media events travel across multiple platforms. But overall, this essay concludes that ceremonial media events as described by the canonic book of Dayan and Katz are still important in the 21st century, and will survive the passing of time and media.

The article makes a case for foregrounding ‘event’ as a key concept within journalism studies before, during, and after the digital age. The article’s first part presents an overview of the existing research on events in philosophy, sociology, historiography, and journalism studies, arguing that the concept of ‘event’ has not received sufficient attention in journalism studies. The article’s second part demonstrates the need to consider ‘event’ as an essential concept of journalism studies through an empirical case study: the news coverage of the disappeared Malaysian Airlines plane MH370 (8 March 2014) in four American news outlets, The New York Times, The Washington Post, The Wall Street Journal and CNN. This article argues that journalists employed two strategies in their coverage: (1) they created and/or covered what the article calls ‘substitute events’, defined as minor events in the present that journalists perceived as new happenings and that led to further reporting and (2) turned to the past and the future for events in their reporting, extending the scope of coverage from the relatively eventless present. Overall, the case study shows that journalists are limited in their narration by the power of events, and they are eager to construct and cover events, even when events are not readily available.

Introduction to the Special Section on the 25th anniversary of the publication of Daniel Dayan's and Elihu Katz's Media Events: The Live Broadcasting of History.