Trans youth and social media: moving between counterpublics and the wider web
In: Gender, place and culture: a journal of feminist geography, Band 24, Heft 11, S. 1626-1641
ISSN: 1360-0524
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In: Gender, place and culture: a journal of feminist geography, Band 24, Heft 11, S. 1626-1641
ISSN: 1360-0524
In: Journal of lesbian studies, Band 17, Heft 3-4, S. 344-364
ISSN: 1540-3548
In: Journal of lesbian studies, Band 17, Heft 3-4, S. 209-214
ISSN: 1540-3548
In: Protest and social movements
Protestors across the world use aesthetics in order to communicate their ideas and ensure their voices are heard. This book looks at protest aesthetics, which we consider to be the visual and performative elements of protest, such as images, symbols, graffiti, art, as well as the choreography of protest actions in public spaces. Through the use of social media, protestors have been able to create an alternative space for people to engage with politics that is more inclusive and participatory than traditional politics. This volume focuses on the role of visual culture in a highly mediated environment and draws on case studies from Europe, Thailand, South Africa, USA, Argentina, and the Middle East in order to demonstrate how protestors use aesthetics to communicate their demands and ideas. It examines how digital media is harnessed by protestors and argues that all protest aesthetics are performative and communicative
In: Protest and Social Movements
Protestors across the world use aesthetics in order to communicate their ideas and ensure their voices are heard. This book looks at protest aesthetics, which we consider to be the visual and performative elements of protest, such as images, symbols, graffiti, art, as well as the choreography of protest actions in public spaces. Through the use of social media, protestors have been able to create an alternative space for people to engage with politics that is more inclusive and participatory than traditional politics. This volume focuses on the role of visual culture in a highly mediated environment and draws on case studies from Europe, Thailand, South Africa, USA, Argentina, and the Middle East in order to demonstrate how protestors use aesthetics to communicate their demands and ideas. It examines how digital media is harnessed by protestors and argues that all protest aesthetics are performative and communicative.
In: International political science review: the journal of the International Political Science Association (IPSA) = Revue internationale de science politique, Band 43, Heft 5, S. 629-647
ISSN: 1460-373X
What makes humour an honest and a direct communication tool for people? How do social networking and digital media transmit user-generated political and humorous content? Our research argues that the way in which humour is deployed through digital media during protest action allows protestors to assert humanity and sincerity against dehumanising political manipulation frameworks. Humorous content, to this extent, enables and is indicative of independent thinking and creativity. It causes contemplation, confronts the hegemonic power of the oppressor, and challenges fear and apathy. In order to conduct this research, we collected and analysed tweets shared during the Gezi Park protests. Gezi Parkı was chosen as the keyword since it was an unstructured and neutral term. Among millions of visual images shared during the protests, we concentrate on those that depict humour both in photography and video formats.
In: Korkut , U , McGarry , A , Erhart , I , Eslen-Ziya , H & Jenzen , O 2021 , ' Looking for truth in absurdity: humor as community-building and dissidence against authoritarianism ' , International Political Science Review . https://doi.org/10.1177/0192512120971151
What makes humour an honest and a direct communication tool for people? How do social networking and digital media transmit user-generated political and humorous content? Our research argues that the way in which humour is deployed through digital media during protest action allows protestors to assert humanity and sincerity against dehumanising political manipulation frameworks. Humorous content, to this extent, enables and is indicative of independent thinking and creativity. It causes contemplation, confronts the hegemonic power of the oppressor, and challenges fear and apathy. In order to conduct this research, we collected and analysed tweets shared during the Gezi Park protests. Gezi Parkı was chosen as the keyword since it was an unstructured and neutral term. Among millions of visual images shared during the protests, we concentrate on those that depict humour both in photography and video formats.
BASE
In: Emotion, space and society, Band 33, S. 100632
ISSN: 1755-4586
In: Social movement studies: journal of social, cultural and political protest, Band 18, Heft 3, S. 284-304
ISSN: 1474-2837
This paper is closed access until 9 July 2020. ; Using the Gezi Park protests as a case study this article considers the performative component of protest movements including how and why protestors actively produce protest activity 'on the ground' and how this is expressed through visual images. It looks beyond iconic images which appear as emblematic of the protest and instead shifts our focus to consider the more 'everyday' or mundane activities which occur during a protest occupation, and explores how social media allows these images to have expressive and communicative dimensions. In this respect, protests can be performed through humdrum activities and this signifies a political voice which is communicated visually. The research is based on visual analysis of Twitter data and reveals methodological innovation in understanding how protestors communicate.
BASE
Protestors across the world use aesthetics in order to communicate their ideas and ensure their voices are heard. This book looks at protest aesthetics, which we consider to be the visual and performative elements of protest, such as images, symbols, graffiti, art, as well as the choreography of protest actions in public spaces. Through the use of social media, protestors have been able to create an alternative space for people to engage with politics that is more inclusive and participatory than traditional politics. This volume focuses on the role of visual culture in a highly mediated environment and draws on case studies from Europe, Thailand, South Africa, USA, Argentina, and the Middle East in order to demonstrate how protestors use aesthetics to communicate their demands and ideas. It examines how digital media is harnessed by protestors and argues that all protest aesthetics are performative and communicative.
BASE
In: SSM - Mental health, Band 1, S. 100004
ISSN: 2666-5603