The Intersection of Audiences and Production in Contemporary Theory – Volume 2
Contributors reflect varied perspectives in their approaches to the spaces formed as a result of rapidly developing and swiftly deploying new communications technologies and social software. They shine multiple spotlights into the intersection of audiences and production, providing a guide toward a nuanced understanding of the interstitial spaces.
12 Digital Human Rights Reporting by Civilian Witnesses: Surmounting the Verification Barrier
♦ CHAPTER TWELVE ♦
Digital Human Rights Reporting by Civilian Witnesses: Surmounting the Verification Barrier
The scene is a dusty stretch—possibly of road—framed by rubble, old tires, barrels, abandoned vehicles, and crumbling walls. The footage is shaky, giving the impression that the camera is handheld. A man runs out of a doorway and shots ring out—small puffs of smoke erupting behind and ahead of him, suggesting that bullets are hitting the wall along which he runs. A moment of calm and then the camera pans left to a young boy, probably around eight years old, getting up from the ground. The boy begins to run toward an abandoned car; the shots recommence, and a puff of smoke emerges from his chest. He falls, slow-motion, first to his knees and then to his side. He lies there, face away from the camera, for a few seconds, then begins to run again, head down, toward the car. He drops behind it, then emerges dragging a younger girl in a bright pink top by the arm. They both run back the way he came, ducking at first, then running faster as the shooting continues. Throughout, male voices that seemingly issue from behind the lens excitedly talk, regularly crying “Allah Akbar!” The video ends a few seconds after the children exit the frame to the left.
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