This article is an invitation to engage with the small ‘p’ politics of visual political communication by highlighting the importance of both culture and history, in order to gain greater understanding of how images and the visual more broadly may ‘work’ on us and contribute to our imaginaries as well as our understanding of political messages and political life as a whole. Specifically, the article aims to encourage scholars in this field to engage less with strategy and tactics or persuasion and effects to delve more deeply into why and how visual meanings become politically powerful over time and in particular contexts. In doing so, the article foregrounds the work of two major scholars of the visual, Stuart Hall and Michel Pastoureau, and promotes an approach focusing on the more seemingly mundane, taken-for-granted and everyday meanings and practices underlying visual political communication. To demonstrate this approach, the article offers an in-depth discussion of the photograph used in the ‘Breaking Point’ poster at the centre of the political campaign which was launched by UKIP leader Nigel Farage in the run-up to the 2016 Brexit referendum.
{"title":"Visual communication has always been political","authors":"G. Aiello","doi":"10.1386/jvpc_00021_1","DOIUrl":"https://doi.org/10.1386/jvpc_00021_1","url":null,"abstract":"This article is an invitation to engage with the small ‘p’ politics of visual political communication by highlighting the importance of both culture and history, in order to gain greater understanding of how images and the visual more broadly may ‘work’ on us and contribute to our imaginaries as well as our understanding of political messages and political life as a whole. Specifically, the article aims to encourage scholars in this field to engage less with strategy and tactics or persuasion and effects to delve more deeply into why and how visual meanings become politically powerful over time and in particular contexts. In doing so, the article foregrounds the work of two major scholars of the visual, Stuart Hall and Michel Pastoureau, and promotes an approach focusing on the more seemingly mundane, taken-for-granted and everyday meanings and practices underlying visual political communication. To demonstrate this approach, the article offers an in-depth discussion of the photograph used in the ‘Breaking Point’ poster at the centre of the political campaign which was launched by UKIP leader Nigel Farage in the run-up to the 2016 Brexit referendum.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"68 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81109967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What does the growing popularity of audio-visual platforms and vertical video mean for visual political communication? I address the opportunities and challenges of TikTok and related platforms for news media, political actors, citizens and researchers, and briefly discuss possible avenues for future academic work. These include questions related to source credibility and media literacy, the assessment of attention versus exposure, political learning and personalization. I argue that how our field engages with these questions will be decisive in the near future.
{"title":"Video killed the Instagram star: The future of political communication is audio-visual","authors":"Franziska Marquart","doi":"10.1386/jvpc_00024_1","DOIUrl":"https://doi.org/10.1386/jvpc_00024_1","url":null,"abstract":"What does the growing popularity of audio-visual platforms and vertical video mean for visual political communication? I address the opportunities and challenges of TikTok and related platforms for news media, political actors, citizens and researchers, and briefly discuss possible avenues for future academic work. These include questions related to source credibility and media literacy, the assessment of attention versus exposure, political learning and personalization. I argue that how our field engages with these questions will be decisive in the near future.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74297436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Computer vision techniques have recently burst onto the scene in visual political communication research, dramatically extending the scope of digital image and video analysis. Over the last five years, in particular, papers featuring computational methods have grown in frequency and breadth, appearing in a variety of journals across different disciplines, ranging from the digital humanities and social semiotics to political communication and data science. Topics have been equally expansive and include large scale examinations of political protest, candidate self-presentation style and partisan symbolism, affective polarization, gender stereotypes, debate performances and voter impression formation, public policy, electoral fraud, and topics outside of conventional politics such as extremist propaganda. In this article, each of these areas of investigation are briefly reviewed for the insights they are revealing about political visuals as well as the tools and techniques employed. Ethical considerations are also explored to highlight some of the tradeoffs inherent in research involving computational analysis of political visuals.
{"title":"Politics through machine eyes: What computer vision allows us to see","authors":"E. Bucy","doi":"10.1386/jvpc_00023_1","DOIUrl":"https://doi.org/10.1386/jvpc_00023_1","url":null,"abstract":"Computer vision techniques have recently burst onto the scene in visual political communication research, dramatically extending the scope of digital image and video analysis. Over the last five years, in particular, papers featuring computational methods have grown in frequency and breadth, appearing in a variety of journals across different disciplines, ranging from the digital humanities and social semiotics to political communication and data science. Topics have been equally expansive and include large scale examinations of political protest, candidate self-presentation style and partisan symbolism, affective polarization, gender stereotypes, debate performances and voter impression formation, public policy, electoral fraud, and topics outside of conventional politics such as extremist propaganda. In this article, each of these areas of investigation are briefly reviewed for the insights they are revealing about political visuals as well as the tools and techniques employed. Ethical considerations are also explored to highlight some of the tradeoffs inherent in research involving computational analysis of political visuals.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84455565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims to pull together some of the recent trajectories that have affected the work of photojournalism professionals. It is argued that the hybrid media environment is yet another turning point of the revolutionary changes caused by the digitalization during the past three decades. Since the late 1980s the digitalization has enabled photojournalism much more than the transition of photo editing and cameras from analogue to digital technology. Digitalization has, for example, facilitated the work in numerous ways and enabled images to travel in multiple speed in comparison to analogue times. During the recent years, traditional media organizations have witnessed diminishing revenues of and cut downs of photography departments worldwide. Most of the news photographers of today are self-employed, and despite the growing importance of the visuals in society, they need to expand their reach from journalism to other fields such as commercial photography, public relations, corporate communications, artistic projects and NGO work to earn a living. This leads to blurring of boundaries between journalism and other fields and to diffusion of professional values and ethics.
{"title":"The changing working life of photojournalism professionals in the contemporary media environment","authors":"J. Mäenpää","doi":"10.1386/jvpc_00025_1","DOIUrl":"https://doi.org/10.1386/jvpc_00025_1","url":null,"abstract":"This article aims to pull together some of the recent trajectories that have affected the work of photojournalism professionals. It is argued that the hybrid media environment is yet another turning point of the revolutionary changes caused by the digitalization during the past three decades. Since the late 1980s the digitalization has enabled photojournalism much more than the transition of photo editing and cameras from analogue to digital technology. Digitalization has, for example, facilitated the work in numerous ways and enabled images to travel in multiple speed in comparison to analogue times. During the recent years, traditional media organizations have witnessed diminishing revenues of and cut downs of photography departments worldwide. Most of the news photographers of today are self-employed, and despite the growing importance of the visuals in society, they need to expand their reach from journalism to other fields such as commercial photography, public relations, corporate communications, artistic projects and NGO work to earn a living. This leads to blurring of boundaries between journalism and other fields and to diffusion of professional values and ethics.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75747280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The visual is central to global politics. Over the past two decades, scholars in the field of international relations have increasingly recognized and examined the numerous and complex ways in which the visual, the political and the international are intertwined. They have scrutinized how a diverse range of global political phenomena – from war, diplomacy and development to election campaigns and refugee policies – are shaped by images and visual artefacts, such as photographs, film, videogames, satellite images, art, surveillance technologies, monuments and architecture. The purpose of this commentary is two-fold. First: I overview this bourgeoning body of literature on visuality in international relations. I discuss the emergence and evolution of this field of research, drawing attention to the significance of the ensuing contributions. Second: I highlight three key challenges that lie ahead: understanding the changing relationship between visuality and digitalization; embarking on more cross-disciplinary inquires; decolonizing research on visual communication. I end with highlighting that understanding the role of visuality goes far beyond appreciating the political impact of images. Visuality goes to the very core of politics because it shapes how we – as individuals and as collectives – see, perceive and enact the political world around us.
{"title":"Visualizing international relations: Challenges and opportunities in an emerging research field","authors":"Roland Bleiker","doi":"10.1386/jvpc_00022_1","DOIUrl":"https://doi.org/10.1386/jvpc_00022_1","url":null,"abstract":"The visual is central to global politics. Over the past two decades, scholars in the field of international relations have increasingly recognized and examined the numerous and complex ways in which the visual, the political and the international are intertwined. They have scrutinized how a diverse range of global political phenomena – from war, diplomacy and development to election campaigns and refugee policies – are shaped by images and visual artefacts, such as photographs, film, videogames, satellite images, art, surveillance technologies, monuments and architecture. The purpose of this commentary is two-fold. First: I overview this bourgeoning body of literature on visuality in international relations. I discuss the emergence and evolution of this field of research, drawing attention to the significance of the ensuing contributions. Second: I highlight three key challenges that lie ahead: understanding the changing relationship between visuality and digitalization; embarking on more cross-disciplinary inquires; decolonizing research on visual communication. I end with highlighting that understanding the role of visuality goes far beyond appreciating the political impact of images. Visuality goes to the very core of politics because it shapes how we – as individuals and as collectives – see, perceive and enact the political world around us.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"99 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79488318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The relevance of candidate image research as an element of political impression management has been scrutinized and contested, as it has been the case for candidate image research in many other scientific domains. For decades the emphasis of political science research was on more conventional topics such as the influences of political ideology, the impact of political rhetoric, the role of political structures and institutions. Nevertheless, with the birth of mass media and maybe even more so with the more recent introduction of social media, the emergence of a predominant visual culture has put candidate image at the centre of political impression formation processes. The managing of political impressions deserves particular attention and profound research. In this article we present an overview of relevant theories and research linked to candidate image within political impression management. The article will firstly discuss how the trend towards perception politics emerged and will revisit the role of perceptions and the formation of politically relevant impressions. Secondly, this article will focus on the politically suitable appearance and the concept of candidate image as an important part of both offline and online political impression management.
{"title":"Mirror, mirror on the wall: Candidate image and political impression management","authors":"Philippe De Vries","doi":"10.1386/jvpc_00026_1","DOIUrl":"https://doi.org/10.1386/jvpc_00026_1","url":null,"abstract":"The relevance of candidate image research as an element of political impression management has been scrutinized and contested, as it has been the case for candidate image research in many other scientific domains. For decades the emphasis of political science research was on more conventional topics such as the influences of political ideology, the impact of political rhetoric, the role of political structures and institutions. Nevertheless, with the birth of mass media and maybe even more so with the more recent introduction of social media, the emergence of a predominant visual culture has put candidate image at the centre of political impression formation processes. The managing of political impressions deserves particular attention and profound research. In this article we present an overview of relevant theories and research linked to candidate image within political impression management. The article will firstly discuss how the trend towards perception politics emerged and will revisit the role of perceptions and the formation of politically relevant impressions. Secondly, this article will focus on the politically suitable appearance and the concept of candidate image as an important part of both offline and online political impression management.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87089390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Myrto Tsilimpounidi, Naya Tselepi, Orestis Pangalos, C. Petropoulou
This article uses a critical lens to examine the various representations of the so-called ‘refugee crisis’ in Lesvos, Greece through both the system of the hotspot regime and the performative acts of commoning, defined as the creation of the commons. It also proposes a process of commoning by the creation of an ‘assemblage’ of the Lesvos Migration Atlas. In this manner, the Atlas as an outcome of the research is itself a representation that embraces theory, narratives, practices, and acts; a visual and symbolic tool that provides space for photographic material, videos, artworks, (re)mappings, everyday stories, and reflective texts. At the same time, it is a collective process of capturing, writing and representing, open to new material and scripts ‐ thus a product in a process of becoming. Overall, the online and interactive Lesvos Migration Atlas can well be approached as an ‘assemblage’ that respects the mobility and contingency of the various crises, representations and acts of commoning. In the Atlas, the refugee crisis, the hotspot regime and the common spaces that have been created are brought together through the emergence and critical confrontation of the multiple representations of Lesvos.
{"title":"Representing and commoning the refugee crisis: The ‘assemblage’ of the Lesvos Migration Atlas","authors":"Myrto Tsilimpounidi, Naya Tselepi, Orestis Pangalos, C. Petropoulou","doi":"10.1386/jvpc_00007_1","DOIUrl":"https://doi.org/10.1386/jvpc_00007_1","url":null,"abstract":"This article uses a critical lens to examine the various representations of the so-called ‘refugee crisis’ in Lesvos, Greece through both the system of the hotspot regime and the performative acts of commoning, defined as the creation of the commons. It also proposes a process\u0000 of commoning by the creation of an ‘assemblage’ of the Lesvos Migration Atlas. In this manner, the Atlas as an outcome of the research is itself a representation that embraces theory, narratives, practices, and acts; a visual and symbolic tool that provides\u0000 space for photographic material, videos, artworks, (re)mappings, everyday stories, and reflective texts. At the same time, it is a collective process of capturing, writing and representing, open to new material and scripts ‐ thus a product in a process of becoming. Overall, the\u0000 online and interactive Lesvos Migration Atlas can well be approached as an ‘assemblage’ that respects the mobility and contingency of the various crises, representations and acts of commoning. In the Atlas, the refugee crisis, the hotspot regime and the common spaces\u0000 that have been created are brought together through the emergence and critical confrontation of the multiple representations of Lesvos.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"82 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89097992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article applies symbolic convergence theory (SCT) to the type of symbolism used by Hezbollah, a Shia terrorist organization. By and large, SCT posits that sharing group fantasies contributes to symbolic convergence. The success of symbolic convergence hinges on three important concepts: symbolic cue, fantasy type and saga. An example of a symbolic cue is Hezbollah’s yellow-and-green logo that symbolizes global militancy against infidels. In regards to the organization’s fantasy types, eight of them were identified (e.g. Al-Quds Day, definition of enemies and individual self-sacrifice). Apropos of Hezbollah’s sagas, two figureheads, Ruhollah Khomeini (the Grand Ayatollah in Iran) and Hassan Nasrallah (the current Hezbollah leader), have become idols of worship by hundreds of thousands of Hezbollah members and millions of Shia Muslims. An important conclusion is that events can be more important for their symbolism than their very happening or existence. Hence, through symbolism, Hezbollah can strike a chord within its followers so as to produce significant change in the world.
{"title":"Understanding Hezbollah symbolism through symbolic convergence theory","authors":"Jonathan Matusitz","doi":"10.1386/jvpc_00008_1","DOIUrl":"https://doi.org/10.1386/jvpc_00008_1","url":null,"abstract":"This article applies symbolic convergence theory (SCT) to the type of symbolism used by Hezbollah, a Shia terrorist organization. By and large, SCT posits that sharing group fantasies contributes to symbolic convergence. The success of symbolic convergence hinges on three important\u0000 concepts: symbolic cue, fantasy type and saga. An example of a symbolic cue is Hezbollah’s yellow-and-green logo that symbolizes global militancy against infidels. In regards to the organization’s fantasy types, eight of them were identified (e.g. Al-Quds Day, definition of enemies\u0000 and individual self-sacrifice). Apropos of Hezbollah’s sagas, two figureheads, Ruhollah Khomeini (the Grand Ayatollah in Iran) and Hassan Nasrallah (the current Hezbollah leader), have become idols of worship by hundreds of thousands of Hezbollah members and millions of Shia Muslims.\u0000 An important conclusion is that events can be more important for their symbolism than their very happening or existence. Hence, through symbolism, Hezbollah can strike a chord within its followers so as to produce significant change in the world.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81499442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the COVID-19 pandemic, Norwegian health authorities provided citizens with advice, information about the disease and recommendations to take the COVID-19 vaccine. One of their tools was information videos shared on their official Facebook pages. Through the lens of the rhetorical situation, this article investigates these videos’ role as part of the Norwegian health authorities’ rhetorical response. During a constantly changing pandemic, governments continuously meet new challenges and must adjust their strategies. The various phases of the pandemic and the different rhetorical situations require different responses. We examine how the Norwegian health authorities use information videos to respond to these varying rhetorical situations during the COVID-19 pandemic and what characterizes their visual rhetoric. We show that during a lasting crisis such as the corona pandemic, different phases recur, allowing us to establish some general rhetorical situations. The responses to the situations are part of an ongoing process of rhetoric on the COVID-19 pandemic. Our analyses find that informative videos often use graphic imagery, are longer and use a direct address from authorities to citizen and thus serve a directive function. Persuasive videos are shorter, have less direct voice-over and tend to serve a more expressive function. Still, despite their variation in content and form, the videos share one type of main rhetorical strategy that we call invitation to appreciate. The main appeal in most of the videos is somewhere in-between deference and participation, or sometimes both at the same time. Instead of direct requests, they camouflage the direct appeal for compliance with the measures through filmic strategies in order not to compel acceptance but to invite appreciation. The videos present the citizens with scenarios and position them as apparently free to decide for themselves. In this way the rhetoric of the information films works as invitations to appreciate and adopt certain attitudes and behaviours.
{"title":"Information films as rhetorical responses during the COVID-19 crisis","authors":"Ragnhild Mølster, Jens E. Kjeldsen","doi":"10.1386/jvpc_00016_1","DOIUrl":"https://doi.org/10.1386/jvpc_00016_1","url":null,"abstract":"During the COVID-19 pandemic, Norwegian health authorities provided citizens with advice, information about the disease and recommendations to take the COVID-19 vaccine. One of their tools was information videos shared on their official Facebook pages. Through the lens of the rhetorical situation, this article investigates these videos’ role as part of the Norwegian health authorities’ rhetorical response. During a constantly changing pandemic, governments continuously meet new challenges and must adjust their strategies. The various phases of the pandemic and the different rhetorical situations require different responses. We examine how the Norwegian health authorities use information videos to respond to these varying rhetorical situations during the COVID-19 pandemic and what characterizes their visual rhetoric. We show that during a lasting crisis such as the corona pandemic, different phases recur, allowing us to establish some general rhetorical situations. The responses to the situations are part of an ongoing process of rhetoric on the COVID-19 pandemic. Our analyses find that informative videos often use graphic imagery, are longer and use a direct address from authorities to citizen and thus serve a directive function. Persuasive videos are shorter, have less direct voice-over and tend to serve a more expressive function. Still, despite their variation in content and form, the videos share one type of main rhetorical strategy that we call invitation to appreciate. The main appeal in most of the videos is somewhere in-between deference and participation, or sometimes both at the same time. Instead of direct requests, they camouflage the direct appeal for compliance with the measures through filmic strategies in order not to compel acceptance but to invite appreciation. The videos present the citizens with scenarios and position them as apparently free to decide for themselves. In this way the rhetoric of the information films works as invitations to appreciate and adopt certain attitudes and behaviours.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90917445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Diers-Lawson, Grace Omondi, Sophie Louise Hillier
To address the dearth of research in visual pandemic communication, this paper proposes the VISTA framework drawing together research from visual communication, persuasion, crisis communication, and health communication to propose that effective health crisis response includes minimizing visual complexity, using strong iconography and symbolism, and effective text to accompany the visual material. The framework was applied to a cross-national comparison of the English and Scottish governments’ COVID-19 pandemic response on Twitter finding that the framework’s application provides good evidence to explain the substantially worse health outcomes across the pandemic in England compared to Scotland. The authors argue the three critical lessons learned from this analysis are that governmental pandemic communication must: (1) use clear visual branding for its pandemic response; (2) combine effective visual and text-based messaging; and (3) keep pandemic messaging positive.
{"title":"Shooting from the hip or taking careful aim? Developing the VISTA analytic framework comparing English and Scottish visual campaigns for self-protective behaviour throughout the COVID-19 pandemic","authors":"A. Diers-Lawson, Grace Omondi, Sophie Louise Hillier","doi":"10.1386/jvpc_00017_1","DOIUrl":"https://doi.org/10.1386/jvpc_00017_1","url":null,"abstract":"To address the dearth of research in visual pandemic communication, this paper proposes the VISTA framework drawing together research from visual communication, persuasion, crisis communication, and health communication to propose that effective health crisis response includes minimizing visual complexity, using strong iconography and symbolism, and effective text to accompany the visual material. The framework was applied to a cross-national comparison of the English and Scottish governments’ COVID-19 pandemic response on Twitter finding that the framework’s application provides good evidence to explain the substantially worse health outcomes across the pandemic in England compared to Scotland. The authors argue the three critical lessons learned from this analysis are that governmental pandemic communication must: (1) use clear visual branding for its pandemic response; (2) combine effective visual and text-based messaging; and (3) keep pandemic messaging positive.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"112 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80662750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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