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The culture of photography in public space edited by Anne Marsh, Melissa Miles and Daniel Palmer

emerges as arguably the most important effect of affect. In a highly original reading of Mel Gibson’s 2004 film, The Passion of the Christ, which draws convincingly on medieval notions of salvific pain, feeling Jesus’s suffering becomes a tool for connecting individuals to a community of faith and devotion at a time of global uncertainty, thereby refuting accusations that Gibson was in fact peddling an exclusionary anti-Semitism. More significantly, McCosker’s analysis of representations of humanitarian disaster argues that the power of affect is massively intensified by new media, which sustain attention and fix an initial shock, which is in turn the prerequisite of effective action on the part of the global community. By making such arguments, McCosker offers a powerful riposte to accusations of compassion fatigue that continue to circulate in discussions of the news media.