The COVID-19 crisis is not only a pandemic, but also an infodemic. In the editorial for this Special Issue about health campaigns and COVID-19, we offer an overview of the context as well as of the three articles in the issue. This opening editorial focuses on the wider context within which the various campaigns took place. While the essays focus on the use of graphics and visual advertisements, we explore meme culture with special emphasis on character assassination, where memes are used to target accountability claims and engender distrust towards powerholders. Hence this presents a backdrop to the cultural and visual environment into which these responses to the global spread of COVID-19 entered.
{"title":"Health campaigns in an infodemic","authors":"Bengt Johansson","doi":"10.1386/jvpc_00014_2","DOIUrl":"https://doi.org/10.1386/jvpc_00014_2","url":null,"abstract":"The COVID-19 crisis is not only a pandemic, but also an infodemic. In the editorial for this Special Issue about health campaigns and COVID-19, we offer an overview of the context as well as of the three articles in the issue. This opening editorial focuses on the wider context within which the various campaigns took place. While the essays focus on the use of graphics and visual advertisements, we explore meme culture with special emphasis on character assassination, where memes are used to target accountability claims and engender distrust towards powerholders. Hence this presents a backdrop to the cultural and visual environment into which these responses to the global spread of COVID-19 entered.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76792561","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 COVID-19 pandemic has called for effective health communication strategies to better protect the public’s well-being, particularly over social media. Among various strategies, health-related comics, referred to as ‘graphic medicine’, were circulated on social media to communicate public health information and to share individuals’ struggles with mental health. Despite a growing body of research in the field of graphic medicine, studies on public responses to graphic medicine are rare, leaving a gap in understanding the feasibility of these comics for effective health communication over social media. To address this gap, this study focused on Instagram audience responses to graphic medicine posts related to the COVID-19 pandemic that were circulated on the platform. It used qualitative content analysis to study 334 comments on eleven comics related to mental health and 159 comments on ten comics related to vaccination. Findings evidence the feasibility of graphic medicine as a tool for health communication relating to showing empathy, contributing personal experiences and knowledge and understanding and elaborating on health-related knowledge, what we refer to as ‘health literacy’. Empirical implications of health communication through graphic medicine are discussed alongside the similarities and differences found in the comments relating to these two distinct COVID-19 issues.
{"title":"Feasibility of comics in health communication: Public responses to graphic medicine on Instagram during the COVID-19 pandemic","authors":"Xin Zhao, A. Feigenbaum, Shannon McDavitt","doi":"10.1386/jvpc_00015_1","DOIUrl":"https://doi.org/10.1386/jvpc_00015_1","url":null,"abstract":"The COVID-19 pandemic has called for effective health communication strategies to better protect the public’s well-being, particularly over social media. Among various strategies, health-related comics, referred to as ‘graphic medicine’, were circulated on social media to communicate public health information and to share individuals’ struggles with mental health. Despite a growing body of research in the field of graphic medicine, studies on public responses to graphic medicine are rare, leaving a gap in understanding the feasibility of these comics for effective health communication over social media. To address this gap, this study focused on Instagram audience responses to graphic medicine posts related to the COVID-19 pandemic that were circulated on the platform. It used qualitative content analysis to study 334 comments on eleven comics related to mental health and 159 comments on ten comics related to vaccination. Findings evidence the feasibility of graphic medicine as a tool for health communication relating to showing empathy, contributing personal experiences and knowledge and understanding and elaborating on health-related knowledge, what we refer to as ‘health literacy’. Empirical implications of health communication through graphic medicine are discussed alongside the similarities and differences found in the comments relating to these two distinct COVID-19 issues.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"350 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75122037","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}
At the core of the various messages that have been sent out about the Coronavirus is how to deal with an invisible threat. Revealing the invisible is however an ancient issue, one that goes back thousands of years and reoccurs throughout human history. This article is an exploration of the complex interrelationship between several long-standing visual tropes that over historical time have emerged from various cultures in response to a need to communicate invisible forces. Beginning with reflections on the poster for the International Hygiene Exhibition of 1911 held in Dresden, linking in images of an Egyptian sun god, via extramission theory and thoughts about the first drawings done through a handheld, lens-focused microscope by Robert Hooke, a series of links and interconnections are made that explore how the invisible has been represented and how the invisible virus can be read as a type of ‘dark star’ or anti-sun. Christian traditions of the use of unnatural colour to signify both invisible power and demonic possession and the way the Coronavirus has itself been depicted are compared to historical visual tropes such as the aureola and the mandorla as used in the Greek Orthodox Church to depict sacred moments that transcend time and space. From Buddhist and Christian uses of halos via images of sea-mines, a complex series of interconnections are revealed that are now being tapped into by Government-sanctioned information leaflets relating to the Coronavirus outbreak.
{"title":"Revealing the invisible: The virus is looking at you","authors":"Garry Barker","doi":"10.1386/jvpc_00009_1","DOIUrl":"https://doi.org/10.1386/jvpc_00009_1","url":null,"abstract":"At the core of the various messages that have been sent out about the Coronavirus is how to deal with an invisible threat. Revealing the invisible is however an ancient issue, one that goes back thousands of years and reoccurs throughout human history. This article is an exploration\u0000 of the complex interrelationship between several long-standing visual tropes that over historical time have emerged from various cultures in response to a need to communicate invisible forces. Beginning with reflections on the poster for the International Hygiene Exhibition of 1911\u0000 held in Dresden, linking in images of an Egyptian sun god, via extramission theory and thoughts about the first drawings done through a handheld, lens-focused microscope by Robert Hooke, a series of links and interconnections are made that explore how the invisible has been represented and\u0000 how the invisible virus can be read as a type of ‘dark star’ or anti-sun. Christian traditions of the use of unnatural colour to signify both invisible power and demonic possession and the way the Coronavirus has itself been depicted are compared to historical visual tropes such\u0000 as the aureola and the mandorla as used in the Greek Orthodox Church to depict sacred moments that transcend time and space. From Buddhist and Christian uses of halos via images of sea-mines, a complex series of interconnections are revealed that are now being tapped into by Government-sanctioned\u0000 information leaflets relating to the Coronavirus outbreak.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75730504","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}
{"title":"Paper. Pen. Pandemic: Viral Cartoons from around the Globe, Benevento Publishing (ed.) (2020)\u0000Metaphors of Coronavirus: Invisible Enemy or Zombie Apocalypse?, Jonathan Charteris-Black (2021)","authors":"O. Vigsø","doi":"10.1386/jvpc_00019_5","DOIUrl":"https://doi.org/10.1386/jvpc_00019_5","url":null,"abstract":"Review of: Paper. Pen. Pandemic: Viral Cartoons from around the Globe, Benevento Publishing (ed.) (2020)\u0000 Elsbethen: Benevento Publishing, 298 pp.,\u0000 ISBN 978-3-89955-012-2, h/bk, €28\u0000 \u0000 \u0000 Metaphors of Coronavirus: Invisible Enemy or Zombie Apocalypse?, Jonathan Charteris-Black (2021)\u0000 Cham: Palgrave Macmillan, 301 pp.,\u0000 ISBN 978-3-03085-105-7, p/bk, €21.39","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76977801","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}
Review of: Through the Lens: The Pandemic and Black Lives Matter, Lauren Walsh (2022) New York and London: Routledge, 152 pp., ISBN 978-1-03218-615-3, p/bk, £18.99
{"title":"Through the Lens: The Pandemic and Black Lives Matter, Lauren Walsh (2022)","authors":"D. Lilleker","doi":"10.1386/jvpc_00018_5","DOIUrl":"https://doi.org/10.1386/jvpc_00018_5","url":null,"abstract":"Review of: Through the Lens: The Pandemic and Black Lives Matter, Lauren Walsh (2022)\u0000 New York and London: Routledge, 152 pp.,\u0000 ISBN 978-1-03218-615-3, p/bk, £18.99","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88631770","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}
In 1941, the Nazi regime revoked the long-established convention of typesetting German texts in Fraktur styles.1This study examines the significance of the messages conveyed by letterforms in Nazi propaganda and the extent to which the regime put into practice its professed typographic policies. Taking into account different audiences and channels, it focuses on books by theAhnenerbeinstitute controlled by Heinrich Himmler, the women’s magazineNS-Frauen-Warteand the newspaperVölkischer Beobachter.Fraktur styles seem to have functioned as the main letterforms of the blood and soil ideology, but another strand of Nazi typography departed from Fraktur and probably translated the importance of theOera Lindabook and theCodex Aesinasin the image of a supposedly ‘Aryan’ past. Meanwhile, the Nazi propaganda incorporated forms and norms that it appropriated from modernist typography, a topic implicitly raised in the dispute between Max Bill and Jan Tschichold in 1946. Typography functioned as an instrument for exclusion, racial discrimination and gender stereotyping and to mark the boundaries of the ‘Aryan’ community, challenging the notion of print-language as intrinsically inclusive expressed in Benedict Anderson’sImagined Communities.
{"title":"Typography and nationalism: The past and modernism under Nazi rule","authors":"Mila Waldeck","doi":"10.1386/jvpc_00003_1","DOIUrl":"https://doi.org/10.1386/jvpc_00003_1","url":null,"abstract":"In 1941, the Nazi regime revoked the long-established convention of typesetting German texts in Fraktur styles.1This study examines the significance of the messages conveyed by letterforms in Nazi propaganda and the extent to which the regime put into practice its professed typographic policies. Taking into account different audiences and channels, it focuses on books by theAhnenerbeinstitute controlled by Heinrich Himmler, the women’s magazineNS-Frauen-Warteand the newspaperVölkischer Beobachter.Fraktur styles seem to have functioned as the main letterforms of the blood and soil ideology, but another strand of Nazi typography departed from Fraktur and probably translated the importance of theOera Lindabook and theCodex Aesinasin the image of a supposedly ‘Aryan’ past. Meanwhile, the Nazi propaganda incorporated forms and norms that it appropriated from modernist typography, a topic implicitly raised in the dispute between Max Bill and Jan Tschichold in 1946. Typography functioned as an instrument for exclusion, racial discrimination and gender stereotyping and to mark the boundaries of the ‘Aryan’ community, challenging the notion of print-language as intrinsically inclusive expressed in Benedict Anderson’sImagined Communities.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78214550","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}
As global warming was questioned and de-prioritized during the George W. Bush presidency, the 2004 film The Day After Tomorrow functioned as a reactionary and visceral cinematic discourse, enlivening environmental efforts to address humanity’s influence on global warming. Demonstrated through analysis using Gilles Deleuze’s three-part movement-images as an analytic approach, the film uses familiar settings such as Los Angeles and New York City as perception-images. The action-image demonstrations of nature’s wrath and violence in those settings are accompanied with scientists being pardoned by nature and as they are able to walk unscathed into and through natural disasters. Finally, the affection-images display humanity’s terrifyingly enraptured facial expressions when confronting global warming-caused natural disasters. As the film leaves a bleak outcome for humanity under the context of global warming denial, it simultaneously employs an ecotheological discourse in the early twenty-first century to empower global warming prediction, demonstrative of the growth of the theological shift in visual display of global warming rhetoric.
在乔治·w·布什(George W. Bush)担任总统期间，全球变暖受到质疑，并被置于次要地位，2004年的电影《后天》(the Day After Tomorrow)作为一种反动的、发自内心的电影话语，为解决人类对全球变暖的影响而做出的环保努力注入了活力。影片采用吉尔·德勒兹的三部分运动图像作为分析方法，以熟悉的场景，如洛杉矶和纽约作为感知图像进行分析。在这些场景中，自然的愤怒和暴力伴随着科学家们得到了自然的宽恕，因为他们能够毫发无损地进入自然灾害并穿过自然灾害。最后，这些情感图片展示了人类在面对全球变暖引起的自然灾害时令人恐惧的狂喜的面部表情。在否认全球变暖的背景下，影片为人类留下了一个黯淡的结局，同时，它采用了二十一世纪初的生态神学话语来支持全球变暖的预测，这表明了全球变暖修辞在视觉展示中的神学转变的增长。
{"title":"Enraptured by nature’s fury in The Day After Tomorrow: Deleuze’s movement-image and the George W. Bush era of global warming denial","authors":"Brent Yergensen","doi":"10.1386/jvpc_00012_1","DOIUrl":"https://doi.org/10.1386/jvpc_00012_1","url":null,"abstract":"As global warming was questioned and de-prioritized during the George W. Bush presidency, the 2004 film The Day After Tomorrow functioned as a reactionary and visceral cinematic discourse, enlivening environmental efforts to address humanity’s influence on global warming.\u0000 Demonstrated through analysis using Gilles Deleuze’s three-part movement-images as an analytic approach, the film uses familiar settings such as Los Angeles and New York City as perception-images. The action-image demonstrations of nature’s wrath and violence in those settings\u0000 are accompanied with scientists being pardoned by nature and as they are able to walk unscathed into and through natural disasters. Finally, the affection-images display humanity’s terrifyingly enraptured facial expressions when confronting global warming-caused natural disasters. As\u0000 the film leaves a bleak outcome for humanity under the context of global warming denial, it simultaneously employs an ecotheological discourse in the early twenty-first century to empower global warming prediction, demonstrative of the growth of the theological shift in visual display of global\u0000 warming rhetoric.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"165 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76925708","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}
N. Varas-Díaz, M. Padilla, Sheilla L. Rodríguez Madera, Kevin Grove, Violeta Contreras Ramírez, Sergio Rivera Rodríguez, Ricardo L Vargas-Molina, Melissa Marzán
In this article, we explore the use of the image as a strategy to understand how natural disasters and coloniality impact the health of marginalized communities. We focus on the aftermath of Hurricane María in Puerto Rico and aim to describe how local people used the image as a strategy to challenge the invisibility fostered by coloniality and advocate for a more humane, equitable and effective public health response. We implemented a mixed methods research design including: (1) ethnographic observations, (2) qualitative in-depth interviews with 67 representatives of the health care system, (3) photographs they had taken as part of their experiences during and after the hurricane and (4) images from local newspapers and social media. In light of the findings we argue that Puerto Ricans engaged in decolonial visual resistance to manage the aftermath of the hurricane. Thus, while surviving the natural disaster, they challenged the traditional use of the image in public health endeavours.
{"title":"Decolonial visual resistance as a public health strategy in post-María Puerto Rico.","authors":"N. Varas-Díaz, M. Padilla, Sheilla L. Rodríguez Madera, Kevin Grove, Violeta Contreras Ramírez, Sergio Rivera Rodríguez, Ricardo L Vargas-Molina, Melissa Marzán","doi":"10.1386/jvpc_00011_1","DOIUrl":"https://doi.org/10.1386/jvpc_00011_1","url":null,"abstract":"In this article, we explore the use of the image as a strategy to understand how natural disasters and coloniality impact the health of marginalized communities. We focus on the aftermath of Hurricane María in Puerto Rico and aim to describe how local people used the image as a strategy to challenge the invisibility fostered by coloniality and advocate for a more humane, equitable and effective public health response. We implemented a mixed methods research design including: (1) ethnographic observations, (2) qualitative in-depth interviews with 67 representatives of the health care system, (3) photographs they had taken as part of their experiences during and after the hurricane and (4) images from local newspapers and social media. In light of the findings we argue that Puerto Ricans engaged in decolonial visual resistance to manage the aftermath of the hurricane. Thus, while surviving the natural disaster, they challenged the traditional use of the image in public health endeavours.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"55 1","pages":"29-65"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78890208","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}
One of the most common ways politicians are portrayed in political advertising is with a friendly, smiling face to persuade the voters to cast their votes on him/her on Election Day. This archetypical image of politicians can be found around the globe even if research shows that smiling faces of politicians to some extent are connected to national and party culture. This article takes the theoretical point of departure in rhetoric and seeks to analyse the use of smile as a way to build ethos in relation to the electorate. The analysis builds on a dataset that consists of more than 3000 Swedish election posters from 1907 to 2019 and tracks the use of the smile as facial expression on posters to the late 1960s. Before that, politicians always put up a serious facial expression on posters. After the breakthrough, the smiling politician has become the dominant portrayal of Swedish politicians on election posters in contemporary politics. The explanation of this development is related to the personalization and intimization of politics, which to a large extent was due to the advent of television. However, a general questioning of authorities and a more equal society are probably also important drivers. There are signs of similar developments in other countries, but the authors call for more studies to validate the results.
{"title":"The smiling politician: The visual rhetoric of party leaders on Swedish election posters","authors":"Bengt Johansson, O. Vigsø","doi":"10.1386/jvpc_00013_1","DOIUrl":"https://doi.org/10.1386/jvpc_00013_1","url":null,"abstract":"One of the most common ways politicians are portrayed in political advertising is with a friendly, smiling face to persuade the voters to cast their votes on him/her on Election Day. This archetypical image of politicians can be found around the globe even if research shows that smiling\u0000 faces of politicians to some extent are connected to national and party culture. This article takes the theoretical point of departure in rhetoric and seeks to analyse the use of smile as a way to build ethos in relation to the electorate. The analysis builds on a dataset that consists of\u0000 more than 3000 Swedish election posters from 1907 to 2019 and tracks the use of the smile as facial expression on posters to the late 1960s. Before that, politicians always put up a serious facial expression on posters. After the breakthrough, the smiling politician has become the dominant\u0000 portrayal of Swedish politicians on election posters in contemporary politics. The explanation of this development is related to the personalization and intimization of politics, which to a large extent was due to the advent of television. However, a general questioning of authorities and\u0000 a more equal society are probably also important drivers. There are signs of similar developments in other countries, but the authors call for more studies to validate the results.","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84577911","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}
Pub Date : 2019-09-01DOI: 10.35731/kpca.2019..54.003
신삼수, Misun Bong
{"title":"공영방송 TV수신료 연구에 대한 메타분석","authors":"신삼수, Misun Bong","doi":"10.35731/kpca.2019..54.003","DOIUrl":"https://doi.org/10.35731/kpca.2019..54.003","url":null,"abstract":"","PeriodicalId":93592,"journal":{"name":"Journal of visual political communication","volume":"72 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74264771","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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