| 1. |
- Allan, Stuart, et al.
(author)
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"Come on, let us shoot!" : WikiLeaks and the Cultures of Militarization
- 2010
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In: Topia: Canadian Journal of Cultural Studies. - 1916-0194. ; :23-24
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Journal article (peer-reviewed)abstract
- This paper explores the controversy generated by the nonprofit WikiLeakswebsite’s posting of a video documenting the shooting of a group of civilians by U.S.forces situated in a helicopter gunship hovering over a Baghdad neighbourhood.Sparking press attention around the world, the brutal rawness of the black andwhite footage—compounded by the harrowing exchanges between the air crewrecorded on the audio track—proved acutely unsettling to viewers otherwisehabituated to routine (effectively sanitized) renderings of the horrors of a warzone.This paper considers the video as an instance where the cultural normalization ofmilitarization was disrupted in ideological terms, thereby threatening to unravelofficially-sanctioned relations of communicative power.
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| 4. |
- Andén-Papadopoulos, Kari, 1963-
(author)
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Archives of/as resistance : On the justice potential of eyewitness image records documenting the Syrian conflict
- 2024
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In: Media Culture and Society. - 0163-4437 .- 1460-3675.
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Journal article (peer-reviewed)abstract
- What are the new possibilities of enacting justice through the vast archives of digital eyewitness images and self-representations produced since 2011 by the grassroots Syrian opposition movement amidst both a nascent revolution and a war entailing gross human rights violations? Based on in-depth interviews with 15 anti-regime Syrian video activists, my article considers how the image makers themselves narrate the role and meaning of these archival records in efforts to reckon with Syria's tormented past and build a more just future. I thus seek to recognize the ongoing agency of the Syrian media activists who struggled, by centering them and their wishes in the current debate about the role that this new type of activist-fueled human rights records can play in helping to build roads to justice and healing in Syria.
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| 6. |
- Andén-Papadopoulos, Kari
(author)
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Citizen camera-witnessing : Embodied political dissent in the age of 'mediated mass self-communication'
- 2014
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In: New Media and Society. - : SAGE Publications. - 1461-4448 .- 1461-7315. ; 16:5, s. 753-769
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Journal article (peer-reviewed)abstract
- This article interrogates the emerging modes of civic engagement connected to the mobile camera-phone, and the ways in which they require us to rethink what it is to bear witness to brutality in the age of fundamentally camera-mediated mass self-publication. I argue that the camera-phone permits entirely new performative rituals of bearing witness, such as dissenting bodies en masse recording their own repression and, via wireless global communication networks, effectively mobilizing this footage as graphic testimony in a bid to produce feelings of political solidarity. Critically, the performance of what I elect to call citizen camera-witnessing', as exemplified by contemporary street opposition movements including those in Burma, Iran, Egypt, Libya and Syria, derives its potency from the ways it reactivates the idea of martyrdom: that is, from its distinct claim to truth in the name of afflicted people who put their bodies on the line to record the injustice of oppression.
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| 7. |
- Andén-Papadopoulos, Kari, 1963-
(author)
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Eqnuete: Image Wars
- 2011
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In: Ekfrase. - 1891-5752 .- 1891-5760. ; 2:2, s. 91-93
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Journal article (other academic/artistic)
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| 8. |
- Andén-Papadopoulos, Kari, 1963-
(author)
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Kameran i krig : den fotografiska iscensättningen av Vietnamkriget i svensk press
- 2000
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Doctoral thesis (other academic/artistic)abstract
- The doctoral thesis deals with the problems of (news) photographic representation in general, and is based on an empirical study ofVietnam War photography in four major Swedish daily newspapers. A more specific aim of the thesis is to investigate and ideologically evaluate the representational strategies of the press photographs. A central argument is that news pictures must be understood in terms of the specific cultural context constituted by the Western pictorial tradition, both classical and popular. The news media operate within the culture and make use of common motifs, symbols and rhetorical devices to convey their messages. Studies have shown that journalistic texts often hark back to literary traditions, oral storytelling, sagas and myths. Likewise, press photography is permeated by iconographie conventions from the Western arthistorical and pictorial tradition. In order to understand how and what the pictures signify, you must read them in light of this tradition.The thesis takes its starting points in various theories of representation; in photo theory, art theory, visual rhetoric and in mass communication theory, particularly the part that deals with news production. Following a poststructuralistic line of argument, 1 take it that photographs convey information not about any objective reality, but about the beliefe and ideas particular to the culture in which they operate. News photographs can be conceptualized as projections, as ”involuntary confessions” of their culture’s deeper preoccupations. This study shows that both the form and content of the news photographs from the Vietnam War reflect historical and contemporary, fictitious and documentary depictions of war. They trigger the same cultural myths found in popular movies, novels and picture genres, including classical Western painting - which confirms the present assumption that news photography must be understood as a cultural product. An ethnocentric as well as patriarchal perspective is prominent in the Swedish new- - spapers’ Vietnam photographs. They position the capitalist West as the masculine, modern and civilized ’ ”Absolute”, against which the Vietnamese are contrasted as a feminized, primitive, communist ”Other”. The press photographs are permeated by a Judeo-Christian iconography. They convey a modern version of the Passion, with the Pietà and the mourning Madonna as recurrent themes. The American soldiers are transformed into Christian martyrs, and the fleeing South Vietnamese population is staged as a timeless vision of the Old Testament Exodus. By referring to the Christian tradition, the photographs give the suffering and killing a higher purpose. Belief in the resurrection - the ultimate triumph owing to the sacrifice — acts as a comforting filter over the scenes of wounded American soldiers and crying South Vietnamese women.My study does not support the popular assumption that the photographic staging of the Vietnam War turned public opinion against the war in any direct way. The negative picture of the war conveyed in press photographs from 1968, which became increasingly negative beginning in 1972, can largely be seen as a result of the mounting Swedish and international resistance to the war. Even though the Swedish press (and other mass media) mirrored changes in the actual course of the war to a certain extent - and through its brutal descriptions of violence certainly contributed to strengthening anti-war opinion — it still appears as if its picture policy responded to, as opposed to preceded, public opinion. Whereas it is difficult to find evidence that news pictures have any direct and decisive effects on the formation of political opinion, it can be argued that they have long-term repercussions for more general cultural conceptions - that they are both symptoms and agents of a process of cultural reproduction. What my study has shown in particular is that even liberal democratic Western media seem to function as propaganda machines of some sort, in the sense that press photographs confirm and reproduce deeply rooted cultural myths and values. It seems appropriate to say that the media — rather than revealing the world — project onto it ideologically colored pictures.
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| 9. |
- Anden-Papadopoulos, Kari
(author)
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Media witnessing and the crowd-sourced video revolution'
- 2013
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In: Visual Communication. - : SAGE Publications. - 1470-3572 .- 1741-3214. ; 12:3, s. 341-357
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Journal article (peer-reviewed)abstract
- Focusing on the critical case of the mobile phone footage of Gaddafi's death in the context of Swedish television news and its audiences, this article considers how the nature of media witnessing' is being transformed through the employment of user-generated footage. On the basis of a combined text/audience analysis study, it shows that citizen video encodes an extraordinary sense of presence and participation. Critically, however, its facilitation of pseudo-eyewitnessing' is not enough in itself to sustain practices of bearing witness. Rather, the author shows that moral responsibility is fundamentally conditioned by the symbolic management of distance - which, audiences stress, is most efficiently provided by professional news packages. Importantly, then, this empirical study corroborates the so far mainly theoretical claim in literature on media witnessing which advocates that media representations need to maintain a proper distance' in order to construct scenes of suffering and violence as a moral cause to spectators.
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| 10. |
- Andén-Papadopoulos, Kari
(author)
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Producing Image Activism After the Arab Uprisings Introduction
- 2020
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In: International Journal of Communication. - 1932-8036. ; 14, s. 5010-5020
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Journal article (peer-reviewed)abstract
- A decade after the outbreak of the Arab revolutions, what remains of the political promise of cameras everywhere to permit activists and protesters in the region revived forms of agency, self-expression, and connectivity? This Special Section aims to provide a better understanding of what the opportunities and constraints are for practices of grassroots digital image activism within today's political struggles in the Arab world. Together, the articles track the current conditions of possibility for Arab digital image activism to actualize counterdominant practices of capturing, mobilizing, and archiving visual documentation of people's struggles for justice in the region. Where traditional media studies tend to focus on insurgent image making as content rather than as embodied and embedded practices, the contributions here feature a range of concrete, contextual, and innovative repertoires of activist video and photography practices. They specifically detail the struggle between resistance and control, between efforts to maintain the radical potential of grassroots forms and practices image- making in the region, and the renewed hegemonic threats and pressures of co-optation, commodification, and censorship.
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