Free Shipping On Every Order
Amazon no longer offers textbook rentals. We do!
The People Are Not an Image Vernacular Video After the Arab Spring
The People Are Not an Image Vernacular Video After the Arab Spring
- ISBN 13:
9781788733168
- ISBN 10:
1788733169
- Format: Hardcover
- Copyright: 09/29/2020
- Publisher: Verso
New From $33.73
Sorry, this item is currently unavailable.
Free Shipping On Every Order
List Price $34.95 Save $1.22
New
$33.73
Usually Ships in 3-5 Business Days
We Buy This Book Back!
Included with your book
.svg "Free Shipping On Every Order"){kind=icon}
Free Shipping On Every Order
Note: Supplemental materials are not guaranteed with Rental or Used book purchases.
Extend or Purchase Your Rental at Any Time
Need to keep your rental past your due date? At any time before your due date you can extend or purchase your rental through your account.
Summary
A major intervention in media studies theorizes the politics and aesthetics of internet video
The wave of uprisings and revolutions that swept the Middle East and North Africa between 2010 and 2012 were most vividly transmitted throughout the world not by television or even social media, but in short videos produced by the participants themselves and circulated anonymously on the internet.
In The People Are Not An Image, Snowdon explores this radical shift in revolutionary self-representation, showing that the political consequences of these videos cannot be located without reference to their aesthetic form. Looking at videos from Tunisia, Bahrain, Syria, Libya, and Egypt, Snowdon attends closely to the circumstances of both their production and circulation, drawing on a wide range of historical and theoretical material, to discover what they can tell us about the potential for revolution in our time and the possibilities of video as a genuinely decentralized and vernacular medium.
The wave of uprisings and revolutions that swept the Middle East and North Africa between 2010 and 2012 were most vividly transmitted throughout the world not by television or even social media, but in short videos produced by the participants themselves and circulated anonymously on the internet.
In The People Are Not An Image, Snowdon explores this radical shift in revolutionary self-representation, showing that the political consequences of these videos cannot be located without reference to their aesthetic form. Looking at videos from Tunisia, Bahrain, Syria, Libya, and Egypt, Snowdon attends closely to the circumstances of both their production and circulation, drawing on a wide range of historical and theoretical material, to discover what they can tell us about the potential for revolution in our time and the possibilities of video as a genuinely decentralized and vernacular medium.
