Toward a Visual Analysis of Social Movements, Conflict, and Political Mobilization

Doerr, Nicole; Mattoni, Alice; Teune, Simon

doi:10.1108/s0163-786x(2013)0000035004

Cited by 66 publications

(50 citation statements)

References 24 publications

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“…While these data are common in social movement research, the visual is mostly neglected albeit it is quite obvious that visual presentation is of great importance for protest (Doerr et al. : xii). In contrast to this, due to my interest in political practice and action I analysed photographs and videos of neo‐Nazi demonstrations and gathered further data by observing demonstrations and rallies in different cities such as Berlin, Dortmund, Essen and Stolberg.…”

Section: Theoretical Approach and Methodological Frameworkmentioning

confidence: 99%

The devil in disguise: action repertoire, visual performance and collective identity of the Autonomous Nationalists

Schedler

2014

Nations and Nationalism

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Adopting protest tactics and visual performance of the far left, many neo‐Nazis in Europe, particularly in Germany, have developed a new style. Referencing their political opponents, the far‐left Autonomous Movement, they call themselves the Autonomous Nationalists. Though this new style caused intense conflicts in the beginning, Autonomous Nationalists have gained strong influence in the neo‐Nazi movement. What drives neo‐Nazis to adopt tactics such as ‘black blocs’ and certain symbols and dress of their political enemies? Based on movement's documents, semi‐structured interviews and observing demonstrations, this article uses empirical data to identify central dimensions of the Autonomous Nationalist's action repertoire and visual performance and their impact on the neo‐Nazi movement's collective identity. The analysis of external and internal effects reveals that the shift in public appearance strengthened the movement's mobilization potential, but otherwise decreased ideological internalisation and may increase the turnover of activists.

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Section: Theoretical Approach and Methodological Frameworkmentioning

confidence: 99%

The devil in disguise: action repertoire, visual performance and collective identity of the Autonomous Nationalists

Schedler

2014

Nations and Nationalism

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“…Still very little is known of the role of YouTube and digital video practices in the 'mobilisation, framing, diffusion and resonance of protest and protest movements' (Doerr, Mattoni and Teune 2013). In a contemporary mediascape, where new forms of visibility are inextricably linked to new forms of action and interaction (Thompson 2005) we need to revisit longstanding debates of the role of the audio-visual in political action and thinking, and ground our analysis in the rich histories of these matters.…”

Section: Discussionmentioning

confidence: 99%

Online Video Activism and Political Mash-up Genres

Askanius

2013

JOMEC Journal

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This article situates contemporary forms of video activism in online environments within a historical trajectory of radical film recruited for Left thinking and action. Focusing on the remix ethos and aesthetics of political mash-up videos, the article suggests how revisiting the analogue precursors of digital video may help contextualise and understand new forms of video activism, and politically committed media practices more generally. In the first part of the analysis, I engage with some of the principal conceptual themes and aesthetics that shape the various hybrid genres of the kind of visual activism we see emerging in YouTube and similar video platforms today. For these purposes, I propose a typology for understanding the motley array of video documentary and documentation available online as a hybrid and diverse range of media forms for political investigation and portrayal. The second part of the analysis demonstrates how such mash-up practices play out on three distinct levels when digital videos are put in circulation online. First, political mash-up is understood as a set of material practices in which online content is mixed and repurposed, second, in terms of a convergence between different styles, genres and modes of address, and finally, the concept of mash-up opens up for an understanding of the blurring of boundaries between different political actors and motives in online media environments.

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“…S obzirom na značaj unutrašnjeg i spoljašnjeg komuniciranje demonstranata za realizaciju ciljeva protesta, proučavanje medijatizovane i neposredne komunikacije, oko i unutar protesta, neopravdano je zanemareno. Ovo se posebno odnosi na vizuelne elemente jer su protesti par excellence vizuelni događaj i demonstranti vizuelnim sredstvima mobilišu podršku, grade sopstveni identitet i javnu percepciju (DeLuca, 1999;Doerr, Mattoni & Teune, 2013). Slike sa događaja neretko postaju "slike događaji" (DeLuca, 1999) koje dobijaju status "foto-žurnalističkih ikona" (Perlmutter & Wagner, 2004), a pokreti ih često koriste kao retoričke taktike za komuniciranje svojih ciljeva široj publici.…”

Section: Uvodunclassified

Visual framing of the protest Against the dictatorship

Krstić¹,

Milojević²,

Kleut³

2018

CM: Commun Media

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Sažetak: U radu se polazi od teorije uokvirivanja i unutar nje formulisane paradigme o medijskom izveštavanju o protestima. Protesti se posmatraju kao višedimenzionalni fenomeni u kojima je vizuelni izraz važan kako tokom protesta, tako i u njegovoj kasnijoj masmedijskoj obradi. Cilj ovog rada je da doprinese razumevanju vizuelnog medijskog uokvirivanja protesta, na osnovu studije slučaja protesta Protiv diktature koji je organizovan u Srbiji posle predsedničkih izbora 2017. godine. Analizom je obuhvaćeno izveštavanje televizija RTS 1, B92, Pink i N1, štampanih izdanja Kurira, Informera, Večernjih novosti, Politike i Danasa, i sajtova Blic.rs, Telegraf.rs. Metodom analize sadržaja ispitana je zastupljenost vizuelnih okvira nasilja, performativnosti, legitimisanja i delegitimisanja, a iz ugla socijalne semiotike kvalitativno je analiziran sadržaj ovih okvira. Rezultati pokazuju da je medijska scena podeljena između medija koji proteste prikazuju pozitivno i onih koji frekventno koriste negativne okvire nasilja i delegitimisanja. Za vizuelni performativni okvir može se reći da više od ostalih odslikava rutinu rada redakcija i stavlja u fokus vizuelnu atraktivnost događaja, dok se okvir legitimisanja i delegitimisanja pre mogu pripisati političkoj pristrasnosti i uređivačkoj politici određenih medija.Ključne reči: protest, medijski okviri, vizuelno uokvirivanje, paradigma o protestima, protest Protiv diktature, Srbija 1 Rad je jednim delom nastao u okviru naučno-istraživačkog projekta Univerziteta u Beogradu -Fakulteta političkih nauka, "Politički identitet Srbije u regionalnom i globalnom kontekstu" (179076), a drugim delom u okviru naučnoistraživačkog projekta Filozofskog fakulteta Univerziteta u Novom Sadu "Digitalne medijske tehnologije i društvenoobrazovne promene" (III 47020), koje finansira Ministarstvo prosvete, nauke i tehnološkog razvoja Republike Srbije.2 Kontakt

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Toward a Visual Analysis of Social Movements, Conflict, and Political Mobilization

Cited by 66 publications

References 24 publications

The devil in disguise: action repertoire, visual performance and collective identity of the Autonomous Nationalists

The devil in disguise: action repertoire, visual performance and collective identity of the Autonomous Nationalists

Online Video Activism and Political Mash-up Genres

Visual framing of the protest Against the dictatorship

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