(THIS ARTICLE IS ONLY MACHINE TRANSLATED by Google from Norwegian)
Not only do revolutionary movements attack the prevailing representations, they also create their own images. We saw it in 2011 during the Arab Spring, where social media played a key role in organizing and spreading the demonstrations against the despotic regimes of Ben Ali, Mubarak, Assad and others.
Of course, it was the presence of thousands of people in the streets, who occupied, marched and protested while fighting the police and military, which caused the regime changes in Tunisia and Egypt, but social media was an important tool in the preparation and mobilization of the rebellion against the despots.
The movements that occupied large spaces South Europe, and the Occupy Wall Street movement in the United States, which took over the baton in 2011, was also characterized by a combination of physical slowness in the occupation of places and public places and the rapid media of the new media. The protests were recorded directly with cameras in Cairo, Athens and New York in 2011. Mobile phones and platforms such as Facebook enabled protesters to become a new Victor Serge, documenting and broadcasting the formation of new collective protest movements while taking place, outside the traditional mass media.
Morgan Adamson's book Enduring Images: A Future History of New Left Cinema provides a compelling analysis of an earlier cycle of protest in which cinematic representations played a central role in the fight against the ruling order. Late in the 1960s, film became a fighting arena for a whole generation of filmmakers who sought to use the medium in a revolutionary struggle against imperialism and the mass media (the spectacle).
Adamson constructs his analysis as a contribution to the analysis that characterized the new left, which emerged in the 1960s in opposition to the Stalinist version of communism with its harsh developmental laws and privileges of the male industrial working class.
The new Left sought to highlight new revolutionary subjects, such as women and migrants, that did not fit into the dialectical-materialist model prevailing in the Soviet Union and its local communist parties throughout Europe and the so-called Third World.
According to Adamson, it turned out that the film became an important medium that brought up new subjectivities and new lines of breaking that critically followed the dictates of dialectical materialism. The new left challenged the "economism" of dialectical materialism, pointing to new forms of control and submission that took place outside the factory areas.
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