Krieg ALS Medienereignis: Grundlagen Und Perspektiven Der Krisenkommunikation
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"Warum schreiben die Journalisten nichts �ber Liberia, sondern immer nur �ber Somalia, wo es doch hier kaum besser geht?", fragte der Mitarbeiter einer Hilfsorganisation in Liberia k�rzlich einen deutschen Journalisten. Seine Antwort: "Weil es keine �hnlich schockierenden Fernsehbilder sterbender Kinder aus Liberia gibt. Wahrscheinlich ist auch die Auf- merksamkeit f�r Somalia nur vor�bergehend, bis ein neues Modethema die Fernsehschirme erobert. " Dieses Gespr�ch �ber die Aufmerksamkeitsregeln der Mediengesell- schaft wird in �hnlicher Form wohl in allen Kriegen, die medial unsicht- bar und damit "folgenlos" bleiben, gef�hrt: von Menschen, f�r die ein Krieg, der keine Mode (im Fernsehen) macht, dennoch sichtbar und fol- genreich bleibt. Auf der anderen Seite werden kritische Fragen nach der Kriegsordnung der Medien gerade auch durch Kriege provoziert, denen mediale Aufmerksamkeit in besonderer Weise zuteil wurde: vorn ersten "Pressekrieg" (Krim-Krieg 1853-1856) �ber den ersten "Wohnzimmer- krieg" (Vietnam 1964-1973) bis zum ersten "Krieg in Echtzeit" (Golf- Krieg 1991), bei dem der US-Verteidigungsminister den Vollzug seiner Befehle im heimischen Fernsehsender 'live' verfolgen konnte. In diesem Reader �ber die Grundlagen und Perspektiven der Krisen- kommunikation geht es vor allem um Kriege, die von Medien beobachtet und damit beobachtbar gemacht werden. Implizit r�cken damit freilich auch die unsichtbaren Kriege ins Blickfeld. Denn Thematisierung und Nichtthematisierung von Krisen, Konflikten und Kriegen beruhen glei- cherma en auf bestimmten Strukturen und Funktionen des publizistischen Systems, in dem Journalisten, Publikum und Public Relations die Karten immer wieder neu und dennoch nach bestimmten Regeln mischen.
Dr. Martin Löffelholz ist wissenschaftlicher Angestellter und Leiter der Studiengruppe Internationale Kommunikation an der Universität Münster.
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