Iconic photographs possess broad social and symbolic significance, are widely replicated over time and circulated across media platforms, and fuel public discussion. In an era of digital memes, they have become generative resources for memetic performances that not only can draw on these images’ historic authority but can also undermine it. Based on the analysis of the ‘Accidental Napalm’ memes, our research leads to a fourfold taxonomy, from memes that expand or expound the meaning of the original picture to those that narrow and potentially destroy its significance. Assessing Hariman and Lucaites’ contention that appropriations of iconic images enhance civic engagement and public culture, we argue that some memes may actually dissolve the original significance of iconic photographs and potentially degrade, rather than enhance, public culture.

This exploratory study attempts to explain how journalistic routines for covering violent conflict lead to the construction of ethnocentric news. A distinction is made between two sets of routines. One set is permanent and ensures ethnocentric control over the flow of information, while a second set varies as journalists construct coherent narratives for particular events. This latter set of routines is further broken down into what are labeled the `Victims Mode' and `Defensive Mode' of reporting. The Victims Mode is used when one's own citizens have suffered an especially tragic loss of life, while the Defensive Mode is employed when one's forces have carried out an attack that has inflicted a similar loss on the enemy. It is argued that each of these modes of reporting parallels psychological reactions that have been found in individuals. The ideas raised in the theoretical discussion are investigated by comparing coverage of two events by Israeli and Palestinian television. Two events were chosen for analysis: a Palestinian suicide bombing that killed 19 Israelis, and the killing of Hamas leader Sheik Salach Shehadeh in which 16 Palestinians were killed. An in-depth reading of the six news broadcasts provides important insights into how journalists' routines ensure a steady flow of culturally acceptable news stories that reinforce hatred between enemies.

No abstract

A substantial share of the photographs that are used in advertisements, product packaging, corporate marketing and website design are supplied by the stock photography business. Nevertheless, this global, billion-dollar industry, dominated by a handful of transnational corporations, remains largely invisible to consumers and has been almost totally neglected by cultural analysts. This article attempts to redress that neglect and lift the veil on a powerful force in contemporary visual culture. First it places stock photography in social and historical context, examining the consolidation of the business in its modern form in the 1970s and 1980s and setting out its core practices and discourses in the broader context of commercial culture and advertising. Next it employs the key industry terms `success' and `meaning' to offer an integrated analysis of stock photography both as a system of cultural production and as a mode of representation.

No abstract