Picturing protest: visuality, visibility and the public sphere
Picturing protest: visuality, visibility and the public sphere
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描绘抗议：视觉性、可见性和公共领域
DOI：
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发表时间：
2017
期刊：
影响因子：
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通讯作者：
Anastasia Veneti
中科院分区：
文献类型：
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作者：
M. Rovisco;Anastasia Veneti
本期特刊关注的是，反映抗议事件和社会运动的某些视觉图像如何以及为何在公共领域变得可见或不可见。“描绘抗议”回应了人们对一种新的抗议文化和“搞政治”的新方式日益增长的兴趣，从阿拉伯起义到占领运动、愤怒者运动和欧洲的反紧缩抗议。自2011年以来，这些新的激进主义在媒体和学术辩论中获得了动力。社会媒体平台和Web 2.0技术为那些在实体广场和街道上以及在虚拟环境中参与异见实践的人提供了各种可能性，当代的激进分子被视为与这些可能性紧密联系在一起。这里特别感兴趣的是，新形式的政治参与和持不同政见者的实践是如何与视觉图像和网络meme的广泛使用相结合的，这些视觉图像和网络meme是由具有记录设施的技术设备（例如智能手机、平板电脑）和社交网络技术促进的（Bennett和Segerberg， 2012）。一些标志性的照片在社交媒体平台上疯传，引起了全球公众的关注，比如26岁的伊朗女子内达（Neda）在一场抗议活动中被狙击手的子弹打死的照片。因此，这种新的抗议文化需要一种不同的方法来研究抗议图像如何在新旧媒体环境中构成、分析、解释和传播。综合来看，这些不同的贡献询问了活动人士、摄影记者、公民记者和记者如何以及为什么使用抗议图像——从地图和海报到业余和专业照片——与国内外的一系列受众进行交流
This special issue is concerned with how and why certain visual images picturing protest events and social movements are rendered visible or invisible in the public sphere. ‘Picturing Protest’ responds to the growing interest in a new protest culture and new ways of ‘doing politics’, ranging from Arab revolts to the Occupy Movement, the Indignados and anti-austerity protests in Europe. Since 2011 these new activisms have gained momentum in media and scholarly debates. Contemporary activisms are seen as powerfully tied in to the possibilities that social media platforms and Web 2.0 technologies offer to those involved in practices of dissent in physical squares and streets as much as in virtual environments. Of special interest here is how new forms of political participation and the practice of dissent go in tandem with the widespread use of visual images and internet memes facilitated by technological devices with documentation facilities (e.g. smartphones, tablets) and social network technologies (Bennett and Segerberg, 2012). Iconic images such as the image of dying Neda, a 26-year-old Iranian woman killed by a sniper bullet during a protest event, go viral on social media platforms and have the power to galvanize the attention of global publics. Hence, this new protest culture demands a different approach in the study of how protest images are constituted, analysed, interpreted and circulated in both old and new media environments. Taken together, the different contributions ask how and why activists, photojournalists, citizen journalists and journalists use protest images – ranging from maps and posters to amateur and professional photographs – to communicate with a range of audiences within and beyond nationally704633 VCJ0010.1177/1470357217704633Visual CommunicationRovisco and Venet