Children of Zuwara: Facebook’s censored images

Detalhes bibliográficos
Autor(a) principal: Heller, Bárbara
Data de Publicação: 2016
Outros Autores: Perazzo, Priscila Ferreira, Souza, Vinicius
Tipo de documento: Artigo
Idioma: por
Título da fonte: E-Compós
Texto Completo: https://www.e-compos.org.br/e-compos/article/view/1222
Resumo: Images of Syrian refugees were printed in newspapers and virtual medias, during September, 2015. While Aylan Kurdi’s image, who drowned to death on a beach in Turkey became a meme, photos of other five dead children, also victims of the same civil war in Syria, have been censored by Facebook. Barbie Zelizer’s, Susan Sontag’s and Jacques Rancière’s theories help us to understand why these media objects received different treatments: while there is an “engaged art” in the Kurdish boy’s photo, there is a "political art" and an "intolerable image" in the others
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spelling Children of Zuwara: Facebook’s censored imagesNiños de Zuwara: fotos censuradas en FacebookCrianças de Zuwara: imagens censuradas no FacebookCensuraImagem intoleranteFacebookImages of Syrian refugees were printed in newspapers and virtual medias, during September, 2015. While Aylan Kurdi’s image, who drowned to death on a beach in Turkey became a meme, photos of other five dead children, also victims of the same civil war in Syria, have been censored by Facebook. Barbie Zelizer’s, Susan Sontag’s and Jacques Rancière’s theories help us to understand why these media objects received different treatments: while there is an “engaged art” in the Kurdish boy’s photo, there is a "political art" and an "intolerable image" in the othersLas imágenes de refugiados sirios poblaron los medios de comunicación impresos y virtuales en septiembre de 2015. Mientras que el niño Aylan Kurdi, que murió ahogado en una playa en Turquía, se convirtió en meme, fotos de otros cinco niños muertos, también víctimas de la guerra civil en Siria, han sido censurados en Facebook. A partir de formulaciones de Barbie Zelizer, Susan Sontag y Jacques Rancière percebemos que estos dos objetos multimedia recibieron tratamiento diferente, porque mientras que en la foto de lo niño kurdo se puede observar "arte comprometida", en las de los cinco niños se reconocen el "arte político" e "imagen intolerable”.As imagens dos refugiados sírios povoaram as mídias impressas e virtuais, em setembro de 2015. Enquanto a do menino Aylan Kurdi, morto por afogamento em uma praia na Turquia, tornou-se meme, fotos de outras cinco crianças sem vida, também vítimas da guerra civil na Síria, foram censuradas no Facebook. A partir de formulações de Barbie Zelizer, Susan Sontag e Jacques Rancière compreendemos que esses dois objetos midiáticos receberam tratamentos diferenciados, pois enquanto na do menino curdo observamos “arte engajada”, na das cinco crianças reconhecemos “arte política” e “imagem intolerável”.ABEC2016-04-27info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfimage/jpegimage/jpegimage/jpegimage/jpegimage/jpeghttps://www.e-compos.org.br/e-compos/article/view/122210.30962/ec.1222E-Compós; Vol. 19 No. 1 (2016)E-Compós; Vol. 19 Núm. 1 (2016)E-Compós; v. 19 n. 1 (2016)1808-2599reponame:E-Compósinstname:Associação Nacional dos Programas de Pós-Graduação em Comunicaçãoinstacron:ANPPCporhttps://www.e-compos.org.br/e-compos/article/view/1222/879https://www.e-compos.org.br/e-compos/article/view/1222/1521https://www.e-compos.org.br/e-compos/article/view/1222/1523https://www.e-compos.org.br/e-compos/article/view/1222/1525https://www.e-compos.org.br/e-compos/article/view/1222/1527https://www.e-compos.org.br/e-compos/article/view/1222/1529Heller, BárbaraPerazzo, Priscila FerreiraSouza, Viniciusinfo:eu-repo/semantics/openAccess2021-06-11T12:23:45Zoai:ojs.www.e-compos.org.br:article/1222Revistahttps://www.e-compos.org.br/e-compos/PUBhttps://www.e-compos.org.br/e-compos/oairevistaecompos@gmail.com1808-25991808-2599opendoar:2021-06-11T12:23:45E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicaçãofalse
dc.title.none.fl_str_mv Children of Zuwara: Facebook’s censored images
Niños de Zuwara: fotos censuradas en Facebook
Crianças de Zuwara: imagens censuradas no Facebook
title Children of Zuwara: Facebook’s censored images
spellingShingle Children of Zuwara: Facebook’s censored images
Heller, Bárbara
Censura
Imagem intolerante
Facebook
title_short Children of Zuwara: Facebook’s censored images
title_full Children of Zuwara: Facebook’s censored images
title_fullStr Children of Zuwara: Facebook’s censored images
title_full_unstemmed Children of Zuwara: Facebook’s censored images
title_sort Children of Zuwara: Facebook’s censored images
author Heller, Bárbara
author_facet Heller, Bárbara
Perazzo, Priscila Ferreira
Souza, Vinicius
author_role author
author2 Perazzo, Priscila Ferreira
Souza, Vinicius
author2_role author
author
dc.contributor.author.fl_str_mv Heller, Bárbara
Perazzo, Priscila Ferreira
Souza, Vinicius
dc.subject.por.fl_str_mv Censura
Imagem intolerante
Facebook
topic Censura
Imagem intolerante
Facebook
description Images of Syrian refugees were printed in newspapers and virtual medias, during September, 2015. While Aylan Kurdi’s image, who drowned to death on a beach in Turkey became a meme, photos of other five dead children, also victims of the same civil war in Syria, have been censored by Facebook. Barbie Zelizer’s, Susan Sontag’s and Jacques Rancière’s theories help us to understand why these media objects received different treatments: while there is an “engaged art” in the Kurdish boy’s photo, there is a "political art" and an "intolerable image" in the others
publishDate 2016
dc.date.none.fl_str_mv 2016-04-27
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://www.e-compos.org.br/e-compos/article/view/1222
10.30962/ec.1222
url https://www.e-compos.org.br/e-compos/article/view/1222
identifier_str_mv 10.30962/ec.1222
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://www.e-compos.org.br/e-compos/article/view/1222/879
https://www.e-compos.org.br/e-compos/article/view/1222/1521
https://www.e-compos.org.br/e-compos/article/view/1222/1523
https://www.e-compos.org.br/e-compos/article/view/1222/1525
https://www.e-compos.org.br/e-compos/article/view/1222/1527
https://www.e-compos.org.br/e-compos/article/view/1222/1529
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
image/jpeg
image/jpeg
image/jpeg
image/jpeg
image/jpeg
dc.publisher.none.fl_str_mv ABEC
publisher.none.fl_str_mv ABEC
dc.source.none.fl_str_mv E-Compós; Vol. 19 No. 1 (2016)
E-Compós; Vol. 19 Núm. 1 (2016)
E-Compós; v. 19 n. 1 (2016)
1808-2599
reponame:E-Compós
instname:Associação Nacional dos Programas de Pós-Graduação em Comunicação
instacron:ANPPC
instname_str Associação Nacional dos Programas de Pós-Graduação em Comunicação
instacron_str ANPPC
institution ANPPC
reponame_str E-Compós
collection E-Compós
repository.name.fl_str_mv E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicação
repository.mail.fl_str_mv revistaecompos@gmail.com
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