Yesterday I was in conversation with Rob Watson for the Decentered Media Podcast. We discussed what lessons we can learn from the public health communication campaigns during the pandemic, the future of local journalism, and the ways in which communities can be empowered during future crises. Many thanks to Rob for the opportunity.
I have written a short blog for Supervising PGRs on the challenges of supervising PhD researchers during the pandemic. The key takeaway is the need for supervisors to be kind, supportive and responsive to PGRs during a time in which we are all experiencing stress and anxiety. Many thanks to Kay Guccione for the opportunity. Please do check out her other work on mentoring, which i have found incredibly helpful in the past.
Yesterday I was interviewed byJames Hazell on BBC Radio Suffolk about the recent Reuters Digital News Report showing that Instagram is a key news source for young people We spoke about a range of issues, including the problem of misinformation on social media and the context collapse that people experience using online platforms. Many thanks to James and the team for the opportunity.
Delighted to publish a blogpost with addressing the recent police attacks on photojournalists during the Black Lives Matter protests in the US. Based on a study of Greek photojournalists conducted with Anastasia Veneti and Darren Lilleker (Bournemouth University), we assess the implications of these attacks for press freedom in the US. The post can be read here
I have written a post for Human: Putting the Social into Science on the social media sousveillance footage recorded during the Black Lives Matter protests across the world. I argue that although this footage may not guarantee the conviction of the officers responsible caught on camera attacking protesters, it clearly provides a focal point for the broad coalition of protesters mobilised in anger at the police killing of George Floyd. Thanks to Laura Lightfinch, Sophie Armour and Victoria Wood for their help with this. The piece can be read here
I then spoke to Dean McLaughlin on BBC Radio Foyle‘s News at One show about whether this would this would lead to politicians being more careful about what they posted online. This interview can be found here
Thanks to Dean, Joanna and their respective teams for the opportunity.
Yesterday Cormac Lawler I took part in a podcast hosted by Rob Watson focussing on wellbeing and media during the COVID-19 lockdown. We discussed a wide variety of issues including what type of future awaits local journalism as we come out of the pandemic. Rob runs the excellent Media for Positive Social Change , which has some great podcasts, blogs and other resources about community media.
Many thanks to Rob for the invitation, and to him and Cormac for a really enjoyable chat!
The iconic nature of this image was cemented when eighties rock band Killing Joke repurposed it for the cover of their eponymous debut album, released in August 1980. Nevertheless, McCullin rejected the suggestion that he was a ‘war photographer’ and later expressed profound regret that these conflict images had so little impact on the longevity of the Troubles. His frustration over the efficacy of this ‘witnessing’ was reflected in the title of his 1973 book: Is anybody taking any notice?
Fast forward four decades and it would appear at least some people are interested in the work of McCullin and his cohort of ‘combat’ photographers during the early days of the Troubles. During my conversation with John Coster as part of the 24 Hour Conflict Reportage Newsroom, we discussed the preliminary results of a new study of mine exploring 100 images tagged #thetroubles on Instagram. I found that many of these had been uploaded to the photosharing site to commemorate the anniversary of key events such as the Battle of the Bogside (August 1969), the Brighton hotel bombing (October 1984), and the assassination of Lord Mountbatten (August 1979). In addition to showing the aftermath of high-profile bomb attacks, many images showed the violent clashes between nationalist youths and members of the security forces that have become so deeply ingrained in collective memories of the Troubles.
What was particularly fascinating was the juxtaposition of ordinary life with the sectarian violence that had erupted in the divided society in the late 1960s. For example, an image originally taken by photojournalist Clive Limpkin showed a young woman standing in the foreground of a rubble-strewn street. It had a certain mutability given that there were no visual clues showing its shooting location, with the exception of the caption which confirmed it had been taken during the Battle of the Bogside.
There were also images showing children playing and even eating ice cream in close proximity to armed British soldiers. The dearth of contextual information meant that they could only be identified as being from Catholic or Protestant working-class neighbourhoods based on the paramilitaries that featured on murals or graffiti captured in the background of these images.
Elsewhere, British army veterans shared photographs of themselves and their colleagues during their tours of Northern Ireland between the early seventies and the mid-nineties. In one case, the caption noted that one of the soldiers that featured in the photograph had been killed by a Provisional IRA sniper in South Armagh a few weeks after it had been taken.
Photographs depicting British army personnel on patrol tended to attract the most antagonistic comments from pro-republican commenters. Photographs posted by British Army veterans were frequently met with antagonistic comments such as ‘Go Home’ and “we’ll fight you for 800 more years”. Their hostile interactions with British military enthusiasts in the comments sections of these images invariably degenerated into arguments over the legitimacy of the British presence in Ireland.
The haunting ‘war photography’ of McCullin and his colleagues appear to have found a new audience on Instagram. Irrespective of whether they are collected or collective memories, it is clear that these photographs do not function as a focal point around which shared narratives on the cause of the conflict can be fostered. Indeed, social media is being used to circulate images that illustrate the persistence of partisan, antagonistic forms of public memory in Northern Ireland, two decades on from the Belfast Agreement.