Media Studies

What is the relationship between design, power, and social justice? “Design justice” is an approach to design that is led by marginalized communities and that aims expilcitly to challenge, rather than reproduce, structural inequalities. It has emerged from a growing community of designers in various fields who work closely with social movements and community-based organizations around the world.

Visual Imagery and Human Rights Practice examines the interplay between images and human rights, addressing how, when, and to what ends visuals are becoming a more central means through which human rights claims receive recognition and restitution. The collection argues that accounting for how images work on their own terms is an ever more important epistemological project for fostering the imaginative scope of human rights and its purchase on reality.

Visual imagery is at the heart of humanitarian and human rights activism, and video has become a key tool in these efforts. The Saffron Revolution in Myanmar, the Green Movement in Iran, and Black Lives Matter in the United States have all used video to expose injustice. In Seeing Human Rights, Sandra Ristovska examines how human rights organizations are seeking to professionalize video activism through video production, verification standards, and training.

Witnessing is infused in ethical and legal discourses that operate within the matrix of knowledge, responsibility, and action. Through an analysis of the non-governmental organization WITNESS, this article shows how this matrix has been at the heart of the development of professionalized human rights video activism that emphasizes goal-driven, tactical and audience-oriented approaches to witness documentation.

Peter Gabriel and other allies created WITNESS nearly 20 years ago – shortly after the Rodney King incident in Los Angeles. At the time, our founders asked: ‘What if every human rights worker had a camera in their hands? What would they be able to document? What would they be able to change?’ Since 1992 WITNESS has engaged with the risks, opportunities and possibilities for action that emerge from the power of moving images – training and supporting human rights activists worldwide to create real change through our methodology of ‘video advocacy’.

This article offers a trajectory of humanitarian communication, which suggests a clear, though not linear, move from emotion-oriented to post-emotional styles of appealing. Drawing on empirical examples, the article demonstrates that the humanitarian sensibility that arises out of these emerging styles breaks with pity and privileges a short-term and low-intensity form of agency, which is no longer inspired by an intellectual agenda but momentarily engages us in practices of playful consumerism.

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.

In this exciting interdisciplinary collection, scholars, activists, and media producers explore the emergence of Indigenous media: forms of media expression conceptualized, produced, and created by Indigenous peoples around the globe. The contributors describe how native peoples use both traditional and new media to combat discrimination, advocate for resources and rights, and preserve their cultures, languages, and aesthetic traditions.

The activist documentary program Challenge for Change/Société nouvelle, which ran from 1967 to 1980 and produced films in both French and English, stands out as a particularly influential and original part of the National Film Board of Canada's critically acclaimed body of work. The films produced by this program were among the first to add portable video to the tested arsenal of 16mm, and challenged audiences, subjects, and filmmakers to confront sexism, poverty, and marginalization in the hope of developing community as well as political awareness and empowerment.

Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus.