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| Srl | Item |
| 1 |
ID:
191056
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| Summary/Abstract |
Recognizing that militant, non-state groups utilize social media and online platforms to reach members, sympathizers, and potential recruits, state agencies and social media corporations now increasingly regulate access to accounts affiliated with such groups. Scholars examining deplatforming efforts have, to date, focused on the extent of audience loss after account restrictions and the identification of strategies for regrouping online followers on the same or different platforms over time. Left unexplored is if and how militant non-state groups adapt their official messaging strategies in response to platform restrictions despite continuing online access to them. To begin to fill that gap, this study compares ISIS’s 550 images displayed in the group’s official newsletter al-Naba six months before and after Europol’s November 2019 take-down of terrorist affiliated accounts, groups, channels, and bots on Telegram. It conducts a content analysis of images related to militaries and their outcomes, non-military activities and their outcomes, and presentational forms. The findings demonstrate that ISIS visually emphasizes its standard priming approach but shifts its agenda-setting strategy. While retaining some of its standard visual framing practices, the group also alters frames, particularly those related to images showing opposing militaries and military outcome.
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| 2 |
ID:
166660
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| Summary/Abstract |
Daesh’s ability to successfully recruit foreign fighters from more than one hundred countries worldwide raises the importance of understanding the group’s strategic media campaign. Recognizing that visual images, in particular, often increase viewers’ attention, recall, and emotional response, this study of Daesh’s official magazine, Dabiq, moves beyond earlier studies primarily focused on the magazine’s textual content to analyze the group’s visual communication strategy. This study’s content analysis of the 1,144 images appearing in the magazine’s first twelve issues reveals how Dabiq has relied extensively on a historic American media trope, the about to die image, to bolster image recirculation over time. This essay examines both the form and content of Dabiq’s use of three about to die image types as they have evolved across the twelve issues. Rather than seek to win the “hearts and minds” of the Muslim public, Dabiq’s use of about to die images transforms the online medium into terrorism in ways that have lasting implications for the global culture.
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