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Representation and Exploitation of War and Conflict: Publicly Appropriable Media as Low Hanging Fruit- [electronic resource]
Representation and Exploitation of War and Conflict: Publicly Appropriable Media as Low Hanging Fruit- [electronic resource]
상세정보
- 자료유형
- 학위논문파일 국외
- 최종처리일시
- 20240214101249
- ISBN
- 9798379952280
- DDC
- 384
- 서명/저자
- Representation and Exploitation of War and Conflict: Publicly Appropriable Media as Low Hanging Fruit - [electronic resource]
- 발행사항
- [S.l.]: : University of Oregon., 2023
- 발행사항
- Ann Arbor : : ProQuest Dissertations & Theses,, 2023
- 형태사항
- 1 online resource(175 p.)
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-01, Section: B.
- 주기사항
- Advisor: Alilunas, Peter.
- 학위논문주기
- Thesis (Ph.D.)--University of Oregon, 2023.
- 사용제한주기
- This item must not be sold to any third party vendors.
- 초록/해제
- 요약This dissertation examines the phenomenon of War Porn, a term that describes the visual destruction of bodies in conflict to elicit a visceral reaction in viewers for the purposes of titillation and entertainment. I examine the historical trajectory of the concept across mediums, genres, and platforms. I argue that War Porn has gone from niche and discrete collections to a professionalized industry, operating on mainstream social media platforms, and consequently raising new moral and ethical questions about the exploitation of the publicly appropriable archive (or PAM). I contend that War Porn has been exploited in Mondo films, shock videotapes, and shock websites because of its status as one of the low hanging fruits of the visual archive, able to be picked and put to use with little fear of legal recourse by shock entrepreneurs working across several decades, dating back to WWII. In part, this is because of much of the contents status as orphan media, or media with unclear ownership or copyright status. These forms of exploitation have been shaped and defined by a series of government regulations. I argue that a key regulation that has created the ecosystem for War Porn to thrive online is Section 230 of the Communications Decency Act of 1996, which has emboldened shock entrepreneurs to make dividends on large, user-submitted collections of War Porn. I conclude by suggesting that we look to alternative representations of the brutality of war and conflict, providing the model of Dattalion, a network of over 100 Ukrainian women collecting visual evidence of war crimes, as one possible answer.
- 일반주제명
- Communication.
- 일반주제명
- Law.
- 일반주제명
- Journalism.
- 일반주제명
- Sexuality.
- 키워드
- Section 230
- 키워드
- War Porn
- 기타저자
- University of Oregon School of Journalism and Communication
- 기본자료저록
- Dissertations Abstracts International. 85-01B.
- 기본자료저록
- Dissertation Abstract International
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■00520240214101249
■006m o d
■007cr#unu||||||||
■020 ▼a9798379952280
■035 ▼a(MiAaPQ)AAI30529500
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a384
■1001 ▼aMcLaughlin, Andrew O.▼0(orcid)0009-0002-1091-4845
■24510▼aRepresentation and Exploitation of War and Conflict: Publicly Appropriable Media as Low Hanging Fruit▼h[electronic resource]
■260 ▼a[S.l.]:▼bUniversity of Oregon. ▼c2023
■260 1▼aAnn Arbor :▼bProQuest Dissertations & Theses, ▼c2023
■300 ▼a1 online resource(175 p.)
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-01, Section: B.
■500 ▼aAdvisor: Alilunas, Peter.
■5021 ▼aThesis (Ph.D.)--University of Oregon, 2023.
■506 ▼aThis item must not be sold to any third party vendors.
■520 ▼aThis dissertation examines the phenomenon of War Porn, a term that describes the visual destruction of bodies in conflict to elicit a visceral reaction in viewers for the purposes of titillation and entertainment. I examine the historical trajectory of the concept across mediums, genres, and platforms. I argue that War Porn has gone from niche and discrete collections to a professionalized industry, operating on mainstream social media platforms, and consequently raising new moral and ethical questions about the exploitation of the publicly appropriable archive (or PAM). I contend that War Porn has been exploited in Mondo films, shock videotapes, and shock websites because of its status as one of the low hanging fruits of the visual archive, able to be picked and put to use with little fear of legal recourse by shock entrepreneurs working across several decades, dating back to WWII. In part, this is because of much of the contents status as orphan media, or media with unclear ownership or copyright status. These forms of exploitation have been shaped and defined by a series of government regulations. I argue that a key regulation that has created the ecosystem for War Porn to thrive online is Section 230 of the Communications Decency Act of 1996, which has emboldened shock entrepreneurs to make dividends on large, user-submitted collections of War Porn. I conclude by suggesting that we look to alternative representations of the brutality of war and conflict, providing the model of Dattalion, a network of over 100 Ukrainian women collecting visual evidence of war crimes, as one possible answer.
■590 ▼aSchool code: 0171.
■650 4▼aCommunication.
■650 4▼aLaw.
■650 4▼aJournalism.
■650 4▼aSexuality.
■653 ▼aSection 230
■653 ▼aWar Porn
■653 ▼aVisual destruction
■653 ▼aSocial media platforms
■690 ▼a0459
■690 ▼a0398
■690 ▼a0391
■690 ▼a0211
■71020▼aUniversity of Oregon▼bSchool of Journalism and Communication.
■7730 ▼tDissertations Abstracts International▼g85-01B.
■773 ▼tDissertation Abstract International
■790 ▼a0171
■791 ▼aPh.D.
■792 ▼a2023
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T16933458▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
■980 ▼a202402▼f2024
