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Much scholarship has looked at how radical politics and its symbolism are framed and distorted by the mass media, while less attention has been devoted to how the symbolic imagery of violence and death is used in activists’ self-representations. This chapter provides one such alternative angle by probing how “visual protest materials” are creatively used in activists’ own videos to pass on stories of communion and contestation.It interrogates how activist video practices mirror the continuum between physical places and mediated spaces in political activism by analyzing a thread of videos circulating on YouTube that commemorate people who have died in connection with three protest events across Europe, putting on display the “spectacles of death” punctuating each of these events. The analysis draws on social semiotics, in particular the work of Barthes (1981) and Zelizer (2010), to examine how death is used as a visual trope to signify the ultimate prize of taking to the streets. This chapter suggests how agency and meaning travel back and forth between offline and online spaces of activism. Engaging with some implications of this interplay, the chapter argues that, in the quest to document truth and induce realism and immediacy, tensions between fact and fiction emerge in the creative appropriation and remixing of images. Finally, it demonstrates how the cityscape is recruited to document and dramatize the spectacle of death as part of a larger struggle for semiotic resources within the protest space and over media representations of social movements more generally.

Growing interest in the use of digital technologies and a Putnam-inspired debate about youth engagement has drawn researchers from outside of the study of social movements into research on the topic. This interest in youth protest participation has, in turn, developed into a substantial area of research of its own. While offering important research contributions, we argue that these areas of scholarship are often not well grounded in classic social movement theory and research, instead focusing on new media and/or the relationship between activism and other forms of youth engagement. This chapter seeks to correct this by drawing on interviews with 40 high school and college students from a moderately sized southwestern city to examine whether traditional paths to youth activism (i.e., family, friends, and institutions) have changed or eroded as online technology use and extra-institutional engagement among youth has risen. We find that youth continue to be mobilized by supportive family, friends, and institutional opportunities, and that the students who were least engaged are missing these vital support networks. Thus, it is not so much that the process driving youth activism has changed, but that some youth are not receiving support that has been traditionally necessary to spur activism. This offers an important reminder for scholars studying youth and digital activism and youth participation more broadly that existing theory and research about traditional pathways to activism needs to be evaluated in contemporary research.

The impact and collective threat of climate change is of key concern to all. Music and arts education can play a role by responding to the ongoing climate crisis through the creation of artworks as activism. This paper discusses a collaborative online international music project and its potential contribution to sustainable development education.

10,427 miles and 11 hours apart, music education students undertook the project, working in groups with a mix of students from Aberdeen, Scotland and Melbourne, Australia in each group. Each student collected video footage that captured their experience of climate concerns related to their environment. Students combined and edited the footage then collaboratively composed music to accompany the footage. This research was conceived as a collaborative self-study project undertaken by the authors as music teacher educators.

The results show a range of musical and extra musical outcomes and challenges. Evidence suggests that a collaborative online international music learning experience may contribute to sustainable development education and regenerative practice more broadly. Students began to develop their practice as educators for school and community contexts embedding learning for sustainability and climate consciousness, thus enabling them to develop as active global citizens.

This paper argues for greater attention to the affordances of digital collaborative music technology tools to facilitate creative projects as well as the need to reimagine musical experience, drawing together strands of music, sustainability education, technology and global citizenship. This paper also argues for the importance of embedding the UN Sustainable Development Goals in teaching and learning in Higher Education.

Film has long been an instructional tool in social studies education; however, most research and methods for using film to teach social studies are situated at the secondary level. As such, the purpose of this study was to extend and expand what is known about using film in elementary social studies classrooms. More specifically, this qualitative content analysis study explored how and why elementary pre-service teachers (PSTs) used film clips from Molly of Denali to design critical Indigenous studies lessons. The data offer insight into the possibilities of using film as a strategy to teach anti-oppressive elementary social studies education.

The authors used qualitative content analysis in this study. Data for this study included 17 lesson planning assignments and corresponding written rationales completed by PSTs in an elementary social studies methods course. Data collected as a result of convenience sampling, given both the authors were the instructors of the methods course. To analyze the data, the authors used a multi-step coding process and a combination of inductive and deductive coding.

Grounded in a framework of anti-oppressive and anti-colonial education, PSTs designed elementary social studies lessons that used film clips from Molly of Denali to increase representation, center a counter-narrative and serve as a motivator. PSTs also infused other sources into their lesson plans, thus extending their lessons beyond the film.

Given the lack of research on how film can be used in elementary social studies classrooms, this study fills a void in the literature. Results of this study suggest that similar to the benefits of using film in secondary classrooms, film can be an engaging and motivating source of information for elementary students. Moreover, when used within a critical pedagogical framework like Sabzalian's (2019) critical orientations of Indigenous studies, film can increase representation and teach anti-oppressive counter-narratives in the elementary classroom.

Despite the pendulum swing from utopian to dystopian views of the Internet, the direction of the popular and academic literature continues to lean toward its liberatory potential, particularly as a tool for redressing social inequality. At the same time, decades of digital inequality scholarship have shown persistent socioeconomic inequality in Internet access and use. Yet most of this research captures class by individualized income and education variables, rather than a power relational framework. By tracing research on how fear, control, and risk manifest itself with inequalities related to digital content, digital activism, and digital work, I argue that a narrow stratification approach may miss the full cause and effect of digital inequality. Instead, a class analysis based on power relations may contribute to a broader and more precise theoretical lens to understand the digital divide. As a result, technology can reinforce, or even exacerbate, existing patterns of social and economic inequality because of this power differential.

This practitioner article uses human rights education (HRE) to frame issues of social justice, particularly anti-Black racism, depicted in the film Till. Teachers cognizant of the need to address racism in American history often struggle to find resources that are accessible and meaningful for their students (Howard and Navarro, 2017; Vickery and Rodriguez, 2022). Furthermore, the use of film in social studies instruction can be an engaging way for students to develop conceptual knowledge and grapple with sensitive issues in history education (Stoddard, 2012).

Till (2022) is a powerful film that teachers can use to pursue anti-racist goals in their classrooms, and HRE provides an approach to analyze a horrible manifestation of racism in American history as well as frame larger systems of injustice. By using widely accepted standards of human dignity, such as the Universal Declaration of Human Rights, teachers can address dimensions of oppression and inequality with a more “neutral” or objective approach.

Given the current political climate that instills fear in educators who teach about racism, HRE can empower social studies teachers to engage students in analysis of a dominant force in American life.

The lesson plan offered in this article includes a film viewing guide, enrichment opportunities and an activity that connects themes in Till and the Civil Rights Movement to human rights concepts.

Tina Askanius is a lecturer and researcher in the Department of Communication and Media at Lund University, Sweden. Her research concerns social movement media practices with a particular focus on contemporary forms of video activism in online environments. Her recent work within this area has been published in international journals such as Journal of E-politics, Journal of Electronic Governance, and Interface: a journal for and about social movements.