This thesis explores the conduct of video activism in Turkey through a case study on Karahaber, an Ankara based video activist collective, which was the only example of its kind in Turkey in the beginning of the study. The purpose of the study is to investigate Karahaber&rsquo / s video activism through the major question of the thesis: Was Karahaber able to provide empowerment for the socially excluded and oppressed, or the practices conducted by it further contributed to the surveillance culture? This is an exploratory research based on qualitative data gathered through semi-structured interviews and content analysis of the videos of Karahaber hosted on its website. It is argued that by following outdated practices of early video activist groups and by limiting dissemination of produced videos with Internet, Karahaber diminished empowering effects of video activism and on the contrary contributed to the proliferation of spectacle society.

Submitted by GISLEINE FÁTIMA DURIGAN NUNES null (gidurigan@hotmail.com) on 2016-04-24T20:14:17Z No. of bitstreams: 1 Dissertação final - pós-defesa.pdf: 1357510 bytes, checksum: cf1df16fb8949469c63a9f7cddd9cf9f (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-04-26T20:40:10Z (GMT) No. of bitstreams: 1 durigan_gf_me_bauru.pdf: 1357510 bytes, checksum: cf1df16fb8949469c63a9f7cddd9cf9f (MD5) / Made available in DSpace on 2016-04-26T20:40:10Z (GMT). No. of bitstreams: 1 durigan_gf_me_bauru.pdf: 1357510 bytes, checksum: cf1df16fb8949469c63a9f7cddd9cf9f (MD5) Previous issue date: 2016-02-29 / Esta dissertação de mestrado tem o propósito de analisar e discutir o papel do vídeo-ativismo e suas conexões em rede, em uma ecologia midiática durante os protestos brasileiros de 2013, tendo como objeto de pesquisa o documentário 20 centavos, do diretor Tiago Tambelli, produzido de forma colaborativa, a partir da criação de um grupo de pessoas no Facebook. O estudo orienta-se a partir dos conceitos de vídeo-ativismo, jornalismo cidadão, movimentos sociais em rede, documentário, e suas inter-relações no contexto contemporâneo das mídias sociais e tecnologias móveis. A metodologia adotada é a análise fílmica, com o estudo dos elementos constitutivos do documentário. A partir dos resultados obtidos, espera-se contribuir para a compreensão do poder da participação cidadã neste novo contexto midiático da web 2.0. / This dissertation aims to analyze and discuss the role of video activism and their network connections, in a media ecology at the brazilian protests of 2013, and as a research subject the documentary 20 cents, director Tiago Tambelli produced collaboratively, from the creation of a group of people on Facebook. The study is guided from the video-activist concepts, citizen journalism, social movements networking, documentary, and their interrelationships in the contemporary context of social media and mobile technologies. The methodology used is the film analysis, to the study of the elements of the documentary. From the results obtained, it is expected to contribute to the understanding of the power of citizen participation in this new media context of web 2.0.

With camera, smart phone, and wireless connection to a worldwide distribution source on a single device that fits in your pocket, now billions of citizens are able to become sousveillant micro-media activist – in real time. This case study investigates purposive texts in detail from over 50 hours of live and archived streaming video webcasts taken from geographically diverse sites. The goal is to explore how this tool is being used by videographers in a complex 21st century social movement. My sample video texts were gathered in late February and early March 2012 as the Occupy Movement stirred to life after a relatively quiet winter (from the corporate media’s point-of-view). In this project, I examine how Occupy’s use of live-streaming video combines “mediated co-presence” (Giddens 1984; Ito 2005) with “networked autonomy” (Castells 2011) to represent the ambivalent face of a complex, postmodern movement for social justice. / text

El presente trabajo estudia el uso del documental “Hija de la laguna” como pieza de videoactivismo en el Perú, en específico, se elabora una metodología cualitativa para analizar los comentarios albergados en el tráiler del documental, el cual continúa generando gran expectativa debido a que toca temas coyunturales que vemos reflejados en el país. Para conocer qué tipo de interacción se genera alrededor del tráiler en cuestión, se explican términos que corresponden al impacto social generado por el producto audiovisual que se analiza. Cabe señalar, que en vista de que se considera videoactivismo, busca expresar la importancia que tiene para llegar a las personas y lograr un cambio positivo. La intención es demostrar cómo el tráiler da voz a aquellos que carecen de ella en defensa del respeto al medio ambiente y lucha de la comunidad por los derechos humanos. Por tanto, aprovechando la información proporcionada, se plantea un paradigma interpretativo con un diseño de estudio de caso que delimita a través de una guía análisis de interacción, los comentarios de los usuarios que visualizan el tráiler del documental “Hija de la laguna – Daughter of the lake” a través de la plataforma de YouTube. Así mismo, para comprender mejor la unidad analizada, se opta por desarrollar una guía de análisis narrativa, a través de una investigación descriptiva, al cual se le suma, el análisis de interacción que aborda las dimensiones: visibilidad y alcance, marcos y valores, afinidad y apoyo y prácticas comunicativas. / This paper studies the use of the documentary "Daughter of the Lagoon" as a piece of video activism in Peru, specifically, a qualitative methodology is elaborated to analyze the comments in the trailer of the documentary, which continues to generate great expectation because it touches on current issues that we see reflected in the country. To know what kind of interaction is generated around the trailer in question, terms that correspond to the social impact generated by the audiovisual product under analysis are explained. It should be noted that since it is considered video activism, it seeks to express the importance it has to reach people and achieve a positive change. The intention is to demonstrate how the trailer gives voice to those who lack it in defense of respect for the environment and community struggle for human rights. Therefore, taking advantage of the information provided, an interpretive paradigm is proposed with a case study design that delimits through an interaction analysis guide, the comments of users who view the trailer of the documentary "Daughter of the lake - Daughter of the lake" through the YouTube platform. Likewise, to better understand the analyzed unit, we chose to develop a narrative analysis guide, through descriptive research, to which is added the interaction analysis that addresses the dimensions: visibility and reach, frames and values, affinity and support, and communicative practices. / Trabajo de investigación

Du soulèvement survenu en Birmanie en 2007 aux révoltes qui ont traversé les pays de la Méditerranée en 2011, les usages de la vidéo partagée sur internet n’ont cessé de se développer au cœur des manifestations et des émeutes. À partir d’observations menées sur internet et d’une enquête de terrain en Tunisie, la thèse s’attache à décrire l’évolution des usages de l’image animée sur le temps long du processus révolutionnaire tunisien entre 2008 et 2014, et à questionner la place et le rôle de ces pratiques dans un monde social en ébullition. L’analyse des contenus mais aussi des tensions socio-politiques qui ont présidé et succédé au moment insurrectionnel, suggère que la prise d’images n’est pas seulement une pratique utilitaire et stratégique destinée à sensibiliser ou à produire une information alternative, mais qu’elle sert des objectifs complexes traversés par les enjeux de lutte qui ont animé les différentes périodes. Des premiers usages en période autoritaire aux productions en plan-séquence dans le temps de l’urgence insurrectionnelle, des montages et mises en scènes accompagnant les mobilisations pour la reconnaissance des acteurs de la révolte à ceux réaffirmant les revendications des populations marginalisées, la vidéo partagée s’est affirmée comme le langage vernaculaire de la contestation. / From the Burma uprising in 2007 to the revolutions of the Arab world in 2011, the uses of digital video have continued to grow, from the heart of demonstrations and riots to the internet. Based on observations conducted on the internet and on a field survey in Tunisia, the thesis describe the evolution of moving image uses in the Tunisian revolutionary process between 2008 and 2014, and interrogates the place and role of these practices in a social world in turmoil. Content analysis combined with analysis of the socio-political tensions that led and succeeded the uprising, suggests that taking pictures is not only a strategic utility practice to raise awareness or to produce alternative information, but that it serves complex objectives marked by the struggle issues of the different periods. From the first uses in authoritarian period to the uses during riots weeks, from edited clips for recognition of revolutionary actors to productions for the recognition of marginalized populations, shared videos revealed as the vernacular language of protest.