Search results

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.

Dansk Folkeparti har i større udstrækning end andre partier anvendt pressemeddelelser som led i deres kommunikation. Samtidig har deres pressemeddelelser været af en anden karakter end de øvrige partiers. Med udgangspunkt i George Lakoffs teori om moralpolitik og med anvendelse af en Toulmin-inspireret argumentationsanalyse analyseres partiets pressemeddelelser fra en tilfældigt valgt måned i 2010. Analysen viser, at pressemeddelelserne udtrykker meget tydelige positioner med baggrund i moralske standpunkter. Politiske modsætninger behandles som moralske, men der er ikke tale om, at man på populistisk vis vender kappen efter vinden. Tværtimod er der tale om et særdeles homogent syn på politik som moral. På den baggrund diskuteres Lees-Marshments skelnen mellem markeds-, salgs- og produktorienterede partier, og konklusionen er, at man kan se Dansk Folkeparti som et salgsorienteret parti, som anvender pressemeddelelserne som et (billigt) middel for at nå ud til vælgerne. ; Dansk Folkeparti (the Danish People's Party) uses press releases to a much larger extent than any other Danish party. But they also use them in a different way. Through an analysis of press releases from a randomly chosen month in 2010, this article discusses the party's use of press releases not only as a source of information about the party's political initiatives but as a way of doing what George Lakoff has called Moral Politics. The use of press releases is then discussed in relation to the distinction presented by Lees-Marshement between product oriented, sales oriented and market oriented parties. The conclusion is that Dansk Folkeparti use the press releases as a part of their political marketing, but that the party due to its moral politics has to be classified as a sales oriented party.