Challenging the frivolities of power: the ubiquitous camera and Nigerian political elites

Abstract

The last decade has witnessed the ubiquitous presence of camera devices, from conventional cameras to communication gadgets (such as mobile phones, iPads and tablets), built with the capacity to produce, edit, disseminate and interact through photographs. In this article, I analyse visual materials circulated on Facebook, YouTube and Nairaland (a locally popular social-networking website used by Nigerians) to demonstrate how the ubiquity of the camera, its overt and surreptitious use, and the transformation and circulation of the resulting photographs constitute political acts in a postcolonial African context. The camera's ubiquity encompasses the increasing availability of photographic devices, but also the growing, and politically charged, inclination to put them to use, framing the world through which their users move. The production and dissemination of the resulting photograph gives it the status of an eyewitness account, amidst contestations that heighten its force as political articulation. Lastly, the ubiquitous camera is a means through which the public observes, polices and exposes the duplicity of state functionaries. The article contributes to an understanding of the ways in which digital infrastructure allows public access to the political undertaking of photography.

Hostile visual encounters: fighting to control photographic meaning in the DRC's digital age

“…By publishing the image through a social media channel, she initiated a slippage between personal, journalistic and political realms. Instead of following her usual diligent protocols, this image arrived on the net in the form of ‘citizen journalism’, made powerful due to its eyewitness nature (Allan 2013; 2015; Agbo 2019). Since the early years of the twenty-first century, citizen journalism has grown as a means of generating news content for both social media and reputable journalistic sources.…”