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231103 r ||| eng |
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|a HM883
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|a Rigney, Ann
|e [editor]
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| 245 |
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|a The Visual Memory of Protest
|h Elektronische Ressource
|c Ann Rigney, Thomas Smits
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| 260 |
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|a Amsterdam
|b Amsterdam University Press
|c 2023
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| 300 |
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|a 220 pages
|b illustrations
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| 653 |
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|a HISTORY / Social History
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| 653 |
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|a SOCIAL SCIENCE / Media Studies
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| 653 |
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|a Protest movements
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| 653 |
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|a Protest movements in mass media
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| 653 |
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|a Collective memory
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| 653 |
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|a SOCIAL SCIENCE / Sociology / General
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| 700 |
1 |
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|a Smits, Thomas
|e [editor]
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| 041 |
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7 |
|a eng
|2 ISO 639-2
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| 989 |
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|b ZDB-39-JOA
|a JSTOR Open Access Books
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| 490 |
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|a Protest and Social Movements
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| 500 |
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|a "Amsterdam University Press". - Acknowledgements Introduction, (Ann Rigney and Thomas Smits) Producing Memorable Images 1. Photojournalism, the World Press Photo Awards, and the Visual Memory of Protest, (Marco Solaroli) 2. The Photographs of Nair Benedicto and the Memory of Protest in Brazil, (Erika Zerwes) 3. Deniz Gezmi. takes to the Streets: From Photograph to Silhouette [tbc], (Duygu Erbil) Reproduction and Remediation 1. Photography, Memory and Women in May '68, (Antigoni Memou) 2. Scarcity in Visual Memory: Creating a Mural of Sylvia Pankhurst, (Clara Vlessing) 3. Memory, Iconicity and Virality in Action: Exploring Protest Photos Online, (Samuel Merrill) Mobilizing Visual Memory 1. Visual Memory in Grassroots Mobilizations: The Anti-Corruption Movement of 2011 in India, (Alice Mattoni and Anwesha Chakraborty) 2. Visual Activism in Protest against Disappearances: The Photo-Portraits of the 43 Ayotzinapa Students, (Sophie Dufays) 3. Space and Place in Online Visual Memory: The Tank Man in Hong Kong, 2013-2020, (Thomas Smits and Ruben Ros) List of Illustrations Notes on Contributors Index of Names
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| 776 |
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|z 9789048555475
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|z 9048555477
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| 856 |
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|u https://www.jstor.org/stable/10.2307/jj.5610579
|x Verlag
|3 Volltext
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|a 303.484
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|a Social movements are not only remembered in personal experience, but also through cultural carriers that shape how later movements see themselves and are seen by others. The present collection zooms in on the role of photography in this memory-activism nexus. How do iconographic conventions shape images of protest? Why do some images keep movements in the public eye, while others are quickly forgotten? What role do images play in linking different protests, movements, and generations of activists? Have the affordances of digital media made it easier for activists to use images in their memory politics, or has the digital production and massive online exchange of images made it harder to identify and remember a movement via a single powerful image? Bringing together experts in visual culture, cultural memory, social movements, and digital humanities, this collection presents new empirical, theoretical, and methodological insights into the visual memory of protest
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