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This chapter considers the value of visual analyses for studying social movements through a study of pro-life uses of images of the fetus in the Australian abortion debate. In doing so, it points to important connections between the study of emotions in politics and visual approaches to social movement studies. It also contributes new primary material on the politics of reproduction through its study of the Australian pro-life movement, on which little has been written. Through discursive analysis of visual materials and practices embedded in three case studies, I demonstrate the range of strategies being used; their selection was informed by a wider survey of available records of pro-life uses of images of the fetus over the past four decades. Emotion is a powerful element of politics, and images of the fetus challenge the emotions, and hence the humanity, of the viewer. I identify three major themes represented in pro-life images of the fetus: the wonder of life; the human form and human frailty of the fetus; and the barbarity of modern society. The meanings of these images are built on our parallel understandings of both sight and emotion as immediate and unmediated. Moreover, the ambiguities and dualities of images of the fetus make their themes more, rather than less, persuasive.

Images had long conveyed politics through forms as varied as private paintings and public coins. If images are storytelling vectors (Fusari, 2017), visual artefacts were intended to re/shape human perception of current events and, consequently, their states of ‘being in the world’ (Heidegger, 2001); this is the reason why the visual quality of communication might be hard to disjoin from that of ‘performativity’ (Cartier-Bresson, 2018).

The polysemic (Barthes, 1977), if not fully open (Eco, 1989), quality of visual semiotics complicates identification of any framework of reference and adds to the need for practical and sensible research in digital communication (Fusari, in press).

Since the first US Presidential debate televised in 1968, a new interest surged towards the understanding and production of visual communication of politics. Increasingly so, images (both still and moving ones) have affected, if not thoroughly shaped, understanding of all recent political affairs, particularly so from the 1992's Gulf War onward (Baudrillard, 1995; Kellner, 1992).

The 2012 Invisible Children (IC)'s campaign is here assessed as the milestone marking the potential for global impact acquired by socio-political visual-centred storytelling.

The intertwining of the digital with the visual has yet to be precisely arranged for socio-political storytelling; also, storytelling as a format and approach has increasingly gained relevance, adding new concerns to issues of veracity.

In response, this chapter advances the notion of ‘storyline’ in conjunction with that of ‘storytelling’: the resulting taxonomy aims to review specific notions of truth- and trust-fulness from a visual-centred perspective.

The chapter thus explores the requirements for communicating and understanding visual storytelling on digital media; by doing so, it addresses the extent to which ‘visual storytelling’ might be a notion fit for the job of disseminating today's digital cultures.

Eventually, the chapter will question how to design visually centred communication formats and, in turn, engage these as storytelling of socio-political issues for digital platforms.

The chapter introduces a methodological approach to analyzing visual material based on Erving Goffman's frame analysis. Building on the definition of dominant frames in a set of visual material, and the analysis of keying within these frames, the approach provides a tangible tool to analyze contextualized visual material sociologically. To illustrate the approach, the chapter analyzes visual representations of social movement contention in two local contexts, the cities of Lyon, France, and Helsinki, Finland. The material was collected during ethnographic fieldwork and consists of 505 images from local activist websites. The analysis asks how femininity, masculinity, and gender/sex ambiguity key visual representations of different aspects of contentious action, such as mass gatherings, violence, protest policing, and performativity. Strong converging features are found in the contents of the frames in the two contexts, yet differences also abound, in particular in the ways femininity keys different frames of contention in visual representations. The results show, first, that the visual frame analysis approach is a functioning tool for analyzing large sets of visual material with a qualitative emphasis, and second, that a comparison of local activism through visual representations calls into question many general assumptions of political cultures, repertoires of contention, and cultural gender systems, and highlights the importance for sociologists of looking closely enough for both differences and similarities.

Satellite images can be a powerful source of data for analyses of conflict dynamics and social movements, but sociology has been slow to develop methods and metadata standards for transforming those images into data. We ask: How can satellite images become useful data? What are the key methodological and ethical considerations for incorporating high-resolution satellite images into conflict research? Why are metadata important in this work? We begin with a review of recent developments in satellite-based social scientific work on conflict, then discuss the technical and epistemological issues raised by machine processing of satellite information into user-ready images. We argue that high-resolution images can be useful analytical tools provided they are used with full awareness of their ethical and technical parameters. To support our analysis, we draw on two novel studies of satellite data research practices during the Syrian war. We conclude with a discussion of specific methodological procedures tried and tested in our ongoing work.

This chapter fosters understanding of core U.S. gun culture and how it promotes its political ideology through visual means.

The research applies key visual theory concepts to investigate a selection of political representations made by gun rights advocates. The images analyzed include photographs, posters, and other ephemera posted on blogs and commercial websites located through informed keyword searches of Google Images.

Core gun culture in the U.S. aggressively promotes its libertarian and right-wing ideology through tactics of interpellation, intertextuality, and exhibitionism, often in tandem with humor, sarcasm, paranoia, and sex appeals.

Although the findings are preliminary, visual theories and methodologies present a promising direction for further consumer research on American gun culture.

U.S. gun culture produces levels of gun violence that far exceed those in other developed countries. Knowledge of how the core gun culture represents itself visually may deliver insights for mitigating this social problem.

Relatively little consumer culture research has addressed U.S. gun culture and visual theories have not been fully deployed.

The purpose of the paper is to explore the potential of visual cultural studies (VCS) to inform and extend research on “accounting and the visual”.

A VCS framework is utilized: to draw together and organize work on “accounting and the visual”; and to illustrate how concepts and empirical studies from VCS can develop and extend accounting research.

The “visual culture turn” in the social sciences has generated considerable theorizing and empirical research pertinent to accounting research. In particular, it can deepen studies of accounting visuality – accounting's visibilities, invisibilities and ways of seeing – and stimulate new imag(in)ings.

The paper introduces accounting researchers to questions, topics, concepts and debates in the VCS field and illustrates how accounting and VCS research can mutually inform each other and foster interpretive/critical accounting projects.

VCS can frame studies of “accounting and the visual” (i.e. affirm it as a distinct field, with rich interdisciplinary connections) with implications for developing and extending accounting research.

The introduction of new communicative ethics in political communication has imposed new procedures and values in politics. The close interrelation of media and politics has many facets and effects on the way politics is exercised and on how it is perceived by the citizens. This chapter investigates how new methods of political communication have been introduced and internalised in Greek politics. By taking into account critical political events and in particular elections and relevant studies, the ‘Greek media democracy’ is divided into six periods covering a time span from 1981 to the present. The division and analysis underline the milestones and transition paths in Greek politics towards new communicative and political ethics. The rationale of our research is commensurate with many comparative studies which emphasise the importance of the context in the adaptation of the ‘Americanized’ political communication model. This chapter reflects how the specific sociopolitical context of the country has interfered, defined and shaped the adaptation of ‘imported’ methods in political communication and how these methods have resulted in significant changes and shifts in Greek media democracy and Greek politics in general.

Globalization, the ever-increasing worldwide flow of ideas, practices, and material objects resulting in increasing interdependency between people and nations across the globe, has numerous interrelated economic, political, cultural, ideological, environmental, and technological facets.

In an effort to make the elusive and multifaceted concept of globalization more tangible and measurable, different instruments have been developed, usually in the form of “indexes” based on quantitative data. These indexes mainly result in rankings of individual cities as well as whole countries with respect to their supposed level of globalization. Some items of the existing indexes to measure the level of globalization of nation states or cities refer to phenomena that are to some extent visually observable, but many aspects and manifestations of globalization escape these rather crude operationalizations.

Visual approaches to globalization help to enrich and complement the more abstract and mainly quantitatively supported discourses around this multifaceted phenomenon. They may provide valid and unobtrusive ways to assess and understand the impact of culture and cultural exchange in the daily lives of inhabitants of cities around the world and add a unique “localized,” cross-cultural empirical perspective to the many divergent views and discussions about the presumed beneficial or detrimental nature of these processes. An ‘in situ’ visual approach to globalization may help to uncover the “real life” impact and the specific contexts of these processes at different locations. This chapter discusses different options for researching globalization and cultural change in cities.

The purpose of this study/paper Manipulating Golden Wombs’ (2017) is to show the author’s non-site intervention of authoritarian – undemocratic maneuvering of both women’s and earth’s “golden” wombs. The burning fossil fuels in myriads of flame colors, signal the power and distress of Earth’s wounded womb, memories of war, environmental destruction and human fatality, and descend to decline as extinguished Oil Drops (2017), creating a void. Global warming poses a problem for fossil fuel systems and those who profit from them.

The title of this paper has been inspired by Cara New Dagget’s book, The Birth of Energy (2019), posited in the nascent realm of energy “mortalities.” Now, confronting a world warmed by sweltering fossil fuels, the book provides us with a direction to thinking energy beyond the “Calvinist view” of everlasting work. Spellbound by Manipulating Golden Wombs’ (2017), the audience canter around the outer surface of the centrally positioned, circulating luminous “acrylic” oil drops highlighted by hundreds of mono-frequency lamps impregnated with desert biodiversity. A closer look takes spectators through a fiery desert, across the fossil fuel fields into the depths of its scorching oil wells, its womb, as they sense the “real-time” catastrophe that had occurred beyond the gallery wall.

These artists’ objective with their interventions is to “root it to the contour of the […] land, so that it’s permanently there and subject to the weathering,” so the audience is “sort of curious to see what will happen to this” (Schmidt, 1996, 225) through the course of time. The works resists the resistance of nature and social culture, as well as of body and intellect by emphasizing the intransience, however complex, of human beings with the ecosphere in which they survive (Novak 2002, 23). The surfacing of the under-surface of the land and ocean life triggers the idea of the private space, which involves role-play, gender norms and the control over women's lives in the capitalist and Gulf societies. Authoritarianism, fossil fuel capital, high-energy use and militarism make the climate politics critical to planetary security. This combustible convergence gave birth to Manipulating Golden Wombs’ (2017).

Ganz reminds us that devouring less energy appears to be almost unharmonious with the current politics of being “Modern.” Sacrificing energy resonances with abstinence at best, and widespread death and injustice at worst. But, consuming an overload of energy is incompatible with a multispecies existence on Earth. Scientists caution “a cascade of feedbacks could push the Earth System irreversibly onto a ‘Hothouse Earth’ pathway,” the consequence of which could be an uninhabitable, unsafe globe for beings (Steffen et al., 2018). Even though it sounds vivid, it is hard to overstate the crisis in the midst of what environmentalists and biologists term as a sixth extinction event (Kolbert, 2014), in line with a “biological annihilation” that paints “a dismal picture of the future of life, including human life” (Ceballos et al., 2017).

It is not only the land’s womb that we have hurt; we have miffed the hearts of the water network, and “Othered” and the wombs of many women and most surfaces of the Earth have been penetrated, unconsented! To sustain a biodiverse sphere, to pause the deaths of the planet’s flora and fauna and to thrive on Earth, we need to work on renewable sources of energy based on “new collectively shared values, principles, and frameworks” (Steffen et al., 2018). We need to stop Manipulating Golden Wombs’ (2017). Are we ready to accept the challenge? (Lau and Traulsen, 2016)

Petro-masculinity has multiple global dimensions and manifests in multiple and locally specific ways (Dagget, 2018). This encourages the geographically diverse artists discussed in this paper to embrace alternative visions, to make bold and explicit statements on gender and global diversity, equity and rights. Through history, women, in specific, embodied the entirety of the Ecocene and its life cycle and explored it in the context of their own relationships, health, sexuality, fertility, reproduction, childbirth, illness and inescapably death. The artists’ interventions’ visual physiognomies and intentions point toward a comprehensive agenda of action that leads to remedial courses toward reinstating the biome to a healthy condition.

Manipulating Golden Wombs’ (2017) enacts the historic all-consuming fires, penetrating the “shared environment,” burning the fossilized fuels exuding from Earth’s penetrated womb. The higher cone-shaped oil drops irradiate the intense dazzling images of oil wells in flames and the desert flora and fauna nestled within the scorching inner arena. This aligns with the private space provided to women. The wombs are smothered in the fuming fires of the Gulf war. The darker, narrower lower oil drops, iconic of the remnants of fossil fuel, are the residual sludge within which the land and water species are enmeshed and ensnared to death. The potency of the enactment of the drops “enables the viewer to see [him/]herself seeing, to become aware of how she perceives the world around [him/]her and in doing so participates in shaping it” (Eliasson, 2009, p. 25) as a form of engagement, which involves an “attention to time, movement and changeability” (pp. 18–21).