Image Politics: The New Rhetoric of Environmental Activism

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Comparing the responses over that time shows a general increase in the willingness to share data (and thus engage in Open Science). While our methodology is based on traditional content analysis, to work out categories we rely on a comprehensive inductive visual analysis of the specific details of the images, such as their types or the persons depicted inside the frame, cultural and political references, the sentiment projected by the depiction, and the visual character of the image.

With respect to various historical periods, artistic genres and contexts, it investigated the production conditions and functionalisation of images, created explicitly or primarily for the public portrayal of authors. It won the Best Book Award 2022 in the International Political Sociology section of the International Studies Association.

The status of climate pictures today is particularly crucial, as global climate change as a long-term process cannot be seen. com/minimaxir/facebook-page-post-scraper), while for downloading Instagram content, we used the Instagram-Scraper package (see https://github. The book presents a rhetoric of the visual for our mediated age as it illuminates new political possibilities currently enacted by radical environmental groups. Another major difference between the platforms is evident when we turn to the informal and formal elements of visual communication.

While most of these categories can be used both as formal or informal tools, selfies have a more informal nature, and campaign flyers are generally related to formal political objects. Turning to the engagement patterns associated with different visual communication tools, the results of multilevel negative binomial regression models are shown in Table 4. This can lead to a wariness of emotions because of concerns they can be used to manipulate us for nefarious purposes, such as with propaganda.No missing or damaged pages, no creases or tears, no underlining or highlighting of text, and no writing in the margins. Hand (2012) argues that we live in the age of “ubiquitous photography,” which is also underlined by statistics: Each day people upload 300 million photos to Facebook, and 95 million photos to Instagram ( Stout 2019). 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.