Image Politics: The New Rhetoric of Environmental Activism

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Deutschsprachige Bücher = gebundener Ladenpreis, fremdsprachige Bücher = unverbindliche Preisempfehlung. We do need to sort this out, I would say by the beginning of the year, if we are going to protect our elections in 2024,” he said. No missing or damaged pages, no creases or tears, no underlining or highlighting of text, and no writing in the margins. In our conceptualization, this is one of the two indicators of personalization: If politicians distribute their own self-made visuals on their own personal pages to their own followers, the visual communication is regarded as highly personal.

Oppositional politicians (72 percent) and men (79 percent) are overrepresented among politicians who use both platforms, whose median age is forty-one.It is central to the politics of illusion, and plays an important role in the phenomenon of populist rhetoric. Second, while existing studies in the field focus on single platforms, we adopt a cross-platform approach as the architectures, affordances, and norms of specific sites significantly shape communication strategies (see Bossetta 2018). With texts by Bini Adamczak, Nana Adusei-Poku, Kerstin Brandes, Jess Dorrance, Antke Engel, Coco Fusco, Katalin Halasz, Katrin Kppert, Renate Lorenz, Sandra Ortmann, Tim Stttgen a.

g., Goffman [1956] 1959), studies on social media increasingly argue that the architectures ( Bossetta 2018), norms ( boyd 2014), and affordances of platforms ( Bucher and Helmond 2018) can shape the way communication is conducted on them. The question is whether citizens are more manipulated as the visual vocabularies of election candidates further emotionalize political communication. No significant relationship can be found on Instagram, but this may be due to the fact that on this platform, almost all pictures are self-made, so the variance of this variable is low.

As coding visual material may allow more space to subjective judgments than textual data, each post was coded by three independent coders, and we accept only those codes that were recorded by at least two coders. Another major difference between the platforms is evident when we turn to the informal and formal elements of visual communication. However, what is clear, is that the existence and reproduction of the photographs is not just an illustration in a media article, but rather a refusal to capitulate or to be made invisible.

DeLuca crafts a highly useful 'critical rhetorical' approach that allows subtle and complex analysis of relatively underexamined kinds of environmental activism. An element-based approach is appropriate to unfold these strategies as it captures them by contrasting the overall level of usage of formal and informal visual elements. Instagram has a smaller but still significant user base with 26 percent of the online population registered on it, but only 7 percent of them receive news from it ( Newman et al. The reason is that we do not think that the same coding scheme can be applied for images and videos. This is a brilliant and necessary book for understanding art’s entanglements with mass media, both then and now.By images, we refer only to still images; consequently moving images—such as videos or GIFs—are excluded from our analysis due to their different visual nature that requires different methods of analysis. Both platforms enable users to connect to each other, to post visual and textual content, and to see their connections’ posts on a news feed. On the contrary, a non-personalized visual communication would predominantly draw upon imported visual materials and pictures on parties or other political actors.

From Greenpeace protesters confronting whaling ships to activists occupying trees, radical environmentalists increasingly rely on attracting mass media coverage to gain visibility and public support. The most important debate this book is aiming at is the question if there is a general link from (climate) knowledge to action, from image to action? We need to embrace this moment of multi-sensory media to do new things and engage in politics in a multi-sensory, fun, and interesting way. First, our goal is to elaborate an extensive coding scheme that investigates images as objects of interest on their own rather than pure illustration to textual communication and is thus suitable to offer a detailed map of political actors’ visual strategies. Images of migrants have been used to promote anti-immigration stances; images of homeless veterans are used to counter government policies to house refugees; images of stranded polar bears are used to promote environmental policies.

The aim of this article is to identify and compare the patterns and effects of Hungarian politicians’ ( n = 51) image-based communication on Facebook ( n = 2,992) and Instagram ( n = 868) during the Hungarian parliamentary election campaign in 2018. Following the example of Barack Obama and others, many politicians have embraced the use of selfies and social media films to attempt to ingratiate themselves with the electorate. Personalization of Politics on Facebook: Examining the Content and Effects of Professional, Emotional and Private Self-Personalization. On Instagram, the pictures are more often spontaneous and candidates are as often shown in casual as in official dress.