ABSTRACT This article identifies the visual representation of Europe’s “refugee crisis” in the media as a key dimension of the communicative architecture of the crisis and its aftermath. Effectively, it argues, the powerful, even iconic, imagery that the media produced and shared during the 2015 “crisis” affirmed ideological frames of incompatible difference, perpetually dividing European citizens and refugees. The article focuses on some of the fundamental elements of the 2015 crisis’s visual grammar to demonstrate how they have (re-)produced popular fears of strangeness and the need for containment and control of foreign bodies. This visual grammar, we argue, imitated and procreated recognizable representations of popular culture to exaggerate newcomers’ strangeness and incompatible difference from the national subject. On the one hand, many news media simulated zombies’ threatening strangeness in images of refugee massification; on the other, many news media images reaffirmed the decisive power of the national subject over refugees’ fate, not unlike the video game player who unilaterally controls a game and takes action when confronted by zombies. This grammar, we argue, symbolically predetermines encounters between citizens and refugees, by emphasizing their incompatible difference and newcomers’ strangeness.

中文翻译：

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玩家与僵尸？欧洲“难民危机”中公民/非公民遭遇的视觉调解

摘要 本文将欧洲“难民危机”在媒体中的视觉表现确定为危机及其后果传播架构的一个关键维度。实际上，它认为，媒体在 2015 年“危机”期间制作和分享的强大的、甚至是标志性的图像肯定了不相容差异的意识形态框架，永久地分裂了欧洲公民和难民。这篇文章重点介绍了 2015 年危机视觉语法的一些基本要素，以展示它们如何（重新）产生了对陌生的普遍恐惧以及对遏制和控制异物的需求。我们认为，这种视觉语法模仿并创造了流行文化的可识别表征，以夸大新来者的陌生感和与民族主题不相容的差异。一方面，许多新闻媒体在难民大众化的图像中模拟了僵尸威胁的陌生感；另一方面，许多新闻媒体的形象再次肯定了民族主体对难民命运的决定性力量，这与电子游戏玩家在面对僵尸时单方面控制游戏并采取行动不同。我们认为，这种语法象征性地预先确定了公民和难民之间的相遇，强调了他们不相容的差异和新来者的陌生感。