Becoming visible: indigenous politics and self-government ; proceedings of the Conference on Indigenous Politics and Self-Government in Tromsø, 8 - 10 November, 1993
In: Senter for Samiske Studiers skriftserie 2
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In: Senter for Samiske Studiers skriftserie 2
In: Internasjonal politikk, Band 67, Heft 3, S. 553-557
ISSN: 0020-577X
In: Internasjonal politikk, Band 67, Heft 3, S. 538-547
ISSN: 0020-577X
In: Nordisk kulturpolitisk tidskrift: The Nordic journal of cultural policy, Band 13, Heft 2, S. 251-265
ISSN: 2000-8325
In: Internasjonal politikk, Band 59, Heft 3, S. 433-438
ISSN: 0020-577X
In: Internasjonal politikk, Band 61, Heft 1, S. 125-130
ISSN: 0020-577X
In recent years, the Swedish Armed Forces have produced and distributed highly edited video clips on YouTube that show moving images of military activity. Along- side this development, mobile phone apps have emerged as an important channel through which the user can experience and take an interactive part in the staging of contemporary armed conflict. This article examines the way in which the aes- thetic and affective experience of Swedish defence and security policy is socially and (media-)culturally (co-)constructed and how the official representation of Swedish military intervention (re)produces political and economic effects when these activi- ties are distributed through traditional and social media such as YouTube and digital apps. Based on Isabela and Norman Fairclough's thoughts on political discourse, Michel Foucault's dialectic idea of power/knowledge, and Sara Ahmed's concept of the affective, I discuss how the Swedish digital military aesthetic is part of a broader political and economic practice that has consequences beyond the digital, the semi- otic, and what might at first glance appear to be pure entertainment. ; In recent years, the Swedish Armed Forces have produced and distributed highly edited video clips on YouTube that show moving images of military activity. Alongside this development, mobile phone apps have emerged as an important channel through which the user can experience and take an interactive part in the staging of contemporary armed conflict. This article examines the way in which the aesthetic and affective experience of Swedish defence and security policy is socially and (media-)culturally (co-)constructed and how the official representation of Swedish military intervention (re)produces political and economic effects when these activities are distributed through traditional and social media such as YouTube and digital apps. Based on Isabela and Norman Fairclough's thoughts on political discourse, Michel Foucault's dialectic idea of power/knowledge, and Sara Ahmed's concept of the affective, I discuss how the Swedish digital military aesthetic is part of a broader political and economic practice which has consequences beyond the digital, the semiotic and what might at first glance appear to be pure entertainment.
BASE
In: Internasjonal politikk, Band 48, Heft 4, S. 551-559
ISSN: 0020-577X
World Affairs Online
In: Internasjonal politikk, Band 72, Heft 1, S. 157-161
ISSN: 0020-577X
In: Internasjonal politikk, Band 67, Heft 3, S. 548-552
ISSN: 0020-577X
In: Internasjonal politikk, Band 64, Heft 1, S. 123-126
ISSN: 0020-577X
In: Norsk sosiologisk tidsskrift, Band 6, Heft 6, S. 1-3
ISSN: 2535-2512
In: Internasjonal politikk, Band 62, Heft 4, S. 616-621
ISSN: 0020-577X
In: Internasjonal politikk, Band 68, Heft 4, S. 639-642
ISSN: 0020-577X