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The People Are Not an Image (Vernacular Video After the Arab Spring)
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Product Details
Author:
Peter Snowdon
Format:
Hardcover
Pages:
304
Publisher:
Verso Books (September 29, 2020)
Language:
English
ISBN-13:
9781788733168
ISBN-10:
1788733169
Weight:
12.2oz
Dimensions:
6.01" x 9.2" x 0.78"
Case Pack:
20
File:
RandomHouse-PRH_Book_Company_PRH_PRT_Onix_full_active_D20260405T165952_155746810-20260405.xml
Folder:
RandomHouse
List Price:
$34.95
As low as:
$26.91
Publisher Identifier:
P-RH
Discount Code:
A
QuickShip:
Yes
Audience:
General/trade
Country of Origin:
United Kingdom
Pub Discount:
65
Imprint:
Verso
Overview
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.
