They Dont Care About Us Analysys Essay

Judgment 14.12.2019

An Egypt—themed remix presents a montage in about armored vehicles with water essays clear the street, and exultant crowds burn tires, throw rocks, tear down images of Mubarak, and wave the national flag [ 2 ]. Yet how do such human rights treatments of this anthem for revolution differ from other YouTube remixes of the same song.

The transformative nature of reworking my sister rosa essay footage often functions in the care of complex community expectations, as has been previously argued by essays studying the fan vidding of Star Trek or the creation of anime music videos by devotees argumentative essay on douglass 8 ].

The temporality of specific rhetorical occasions for remix response is also frequently a critical aspect of essay in the fast—moving care of cascading events in recent political revolutions. Citizen—shot video and vernacular video forms common on the Internet were a significant part of the tactical media efforts of democracy activists.

Olodum and Pelhourino have become inseparable since the founding of the former in on April 25th , in Pelhourino, the centre of old Salvador. Although music fans may know Olodum as a band, they are, in fact, much more than that. They are a social and a cultural movement. From Wikipedia : Neguinho do Samba? He then fell to the ground as police pulled the two women off him and escorted them away. After the director helped Jackson get up off the street, he continued to sing and dance. This incident made it into the music video. Some residents and officials found it offensive that Jackson's production team had negotiated with drug dealers in order to gain permission to film in one of the city's shantytowns. It's a public awareness song and that's what he is all about. It's a protest kind of song It brought them worldwide fame and increased their credibility in Brazil. Identical scenes are viewable in the first music video. All the while there is a vaguely political appeal in there The interesting aspect of Michael Jackson's strategy is the efficiency with which it gives visibility to poverty and social problems in countries like Brazil without resorting to traditional political discourse. The problematic aspect is that it does not entail a real intervention in that poverty. This second version was filmed in a prison with cell mates; in the video Jackson is seen handcuffed. Often this spoiling is in the service of a greater aggregative or truth—telling project. This particular annotation has been added by the curator of this channel, the Iranian expatriate activist Only Mehdi. Only Mehdi is Mehdi Saharkhiz, the son of a prominent imprisoned Iranian journalist who has become one of the foremost curators and aggregators of video from Iran. He is best known for gathering hundreds of videos shot in one curational location on YouTube, where he often showcases multiple angles of an incident for example, a police car driving over a protestor and provides corroborative and corrective detail [ 26 ]. By the same token, however, conspiracy theorists may latch onto videos that show well—documented human rights abuses that are widely accepted as factual occurrences and create counter—narratives that introduce doubt about the suffering of victims. Although the gory death of protester Neda Agha—Soltan in the streets of Tehran spurred outcries from Western observers, pro—government apologists have posted YouTube videos that claim that elements of the video, which was shot by a bystander on a mobile phone, were staged or otherwise faked. Figure 2: Frame from pro—government Iranian spoiler video. This range of remixers and spoilers is also reflected in the diversity of content—creators who supply the multimedia source materials of online video; it is an extremely heterogeneous group that includes victims, bystanders, perpetrators, and many different classes of other intentional and unintentional witnesses. At the level of the individual media experience, one of the consequences of this heterogeneity of sources is an unpredictable fluctuation in the power dynamic between the online viewer and the online viewed. Privacy, consent, and other ethical principles Many of these fluctuations and uncertainties arise because of the changing dynamics of ethical relationships around consent, representation, and circulation. In recent years, the entry of many more people into the process of filming, documenting and sharing has disrupted the one—on—one negotiation of consent, rights, and usage between a documentarian and a subject [ 30 ] and traditional journalistic ethics around sources and reporting — both defined largely by a single binary relationship or a defined series of stable social relationships that are embedded in a professional ethics of traditional image—making culture [ 31 ]. Instead, those who capture footage on mobile devices or remix it on home computers participate in an ethics of networks, of material circulating, re—combining, and being re—used in multiple relationships between people often far distant from the source originators, the filmer and the filmed [ 32 ]. Unlike historians, journalists, legal advocates, or ethnographers, internationally dispersed and increasingly diverse cadres of online video creators, sharers, and remixers lack any common codes of conduct. Both human rights culture and academic discourses place a privileged or protected status around the testimony of the witness and the integrity of both the address to an audience and the visual representation of violations. This is especially urgent when the sufferer is no longer able to speak. The one who carries the continued memory of suffering also carries the responsibility to do so in a manner that empathises with, rather than violates, the silent victim. Whether such perpetrator footage is found accidentally, as in the case of the humiliation of Roma children by Slovakian police that was left on a cell phone, or disseminated purposely by abusers, as in the case of the sodomizing of Egyptian bus driver Imad al—Kabir by police officers that was sent to other drivers as a warning, it raises fundamental questions about the privacy and consent of the victims who appear, and about how we handle the recirculation and remix of the graphic violence therein. Providing historical framing for representations of political violence Much as lynching photographs of the past century were often shot by vigilante brutalizers and even gleefully disseminated to others through postcards that depicted the graphic violence of the extrajudicial killing of people of color, in the contemporary era both official video documentation or trophy videography may be created by those who abuse their access to and authority over victims. Recent scholarship and art about the history of lynching photography has focused attention on depictions of perpetrators and witnesses in ways that may be useful to those who work with online remix videos and to promote understanding of more contemporary forms of the circulation of images of human rights abuses. In the case of the Arab Spring, images of contemporary martyrs murdered in public places for challenging the authorities through non—violent means have been used as a call to action for armed struggle and even jihadist actions against comfortable civilians in the West who imagine themselves as noncombatants while U. The agency of victims and survivors Sometimes publicizing obviously dramatic humiliating human rights abuses may actually violate the stated wishes of the abused. When private images become public property, victims may become unwilling political actors who are put at further risk by both national party politics and local sexual politics that may recapitulate and elaborate their abuse. If human rights begins with dignity, violating her wishes for consent becomes deeply problematic for advocacy organizations. In handling the relationship between testimony and evidence in the court of public opinion on the Internet, maintaining personal dignity in bearing witness can be a critical component that is frequently absent for people in crisis. Sometimes family members are able to defend the honor of victims who may be vulnerable to accusations of promiscuity or subjected to prurient questions, as in the case of the family of Libyan law student and alleged rape victim Eman Al Obiedy, who attested to her personal, professional, and political integrity. But families can also become part of the collateral damage when a human rights video is circulated, goes viral, or becomes fodder for remixes that carry it even further away from its original context or re—contextualize it in challenging or risk—enhancing ways. For example, the father of mutilated teenage victim Hamza al—Khatib featured in a graphic video watched by hundreds of thousands was detained by Syrian authorities even after state television cited him as an authority in an hour—long program that assured viewers that no human rights abuses had taken place [ 40 ]. At other times, victims or survivors are able to actively assert control over the ways that footage of themselves is used and remixed, using the power of citizen video to challenge a dominant narrative. In Syria, a video still circulates of bound men lying on the ground in a small town, while gun—toting security forces kick them. The video had apparently been shot by a member of the abusive security forces themselves. When it leaked online, the Syrian government claimed the video was a fake, that it was shot in Iraq, and that U. Ahmad Biasi, a young man clearly visible in the original video being kicked by a security forces member, responded by revisiting the town, showing the road sign, and pointing out the scene of the violence that was clearly identifiable as the location in the video. Then, standing in front of the camera, Biasi holds up his identity card to confirm that he is a Syrian national. Rather than hide his identity, he challenges the re—framing of the original clip by the Syrian authorities. Subsequently he was imprisoned, and finally appeared in a Syrian government television program, delivering a potentially coerced statement as his media representation shifted from victim on the ground to empowered citizen challenging the state and then on to tool of poor state counter—propaganda [ 41 ]. Figure 3: Ahmad Biasi holding up his identity card in testimony video. Calls to action Beyond concerns of authenticity, consent, and representation, participatory culture, particularly as experienced at one remove from the sites of human rights and humanitarian crisis, can fail to translate online interest in issues into real—world action and advocacy. Viewing such frequently sampled video may actually encourage passive spectatorship and detachment from substantive policy issues. Much like the Pulitzer Prize—winning image of the summary execution of a handcuffed prisoner on a Saigon street in , contemporary moving images on YouTube — such as those of a protestor shot in Bahrain in — can be replayed to the point of desensitization or aestheticized as iconic pop art objects. It could also be argued that some of the most effective human rights footage focuses on imagery that is quotidian, banal, and constituted by everyday interactions rather than more obviously dramatic or high—stakes events. Non—violent actions shown without consequences can sometimes be more persuasive than actions that are shown with tragic repercussions. Chorus Racism, intolerance and prejudices MJ first talks about skinheads, who are a group of violent, hateful, intolerant, racist, white supremacists , and associates it with death :"Dead head" the next line. Moreover, those lyrics are inside the chorus, so it is an important thing which is denounced in this song because it is said several times. Captives are also ignored as their rights that every citizen or human must have.

News stories about Egyptian protests noted the rhetorical power of the vlog of Asmaa Mahfouz that urged mobilization or the Facebook essay for police murder victim Khaled Said that was created by about Google executive Wael Ghonim, an influential member of the Egyptian digerati who was posting Twitter updates up to the moment that he was arrested by regime authorities, and one of the most watched videos from Egypt during the first days after the initial Tahrir Square protests remixed a series of images and testimonies and arkansas bar exam sample care answers attracted about two million views [ 9 ].

Although it is clear that online videos of brutal crackdowns or spontaneous uprisings and citizen testimonies of resistance and repression played a role in the events of andthis essay raises a number of questions around the assumption that access to online video as a means of expression and as a care for activism automatically spurs practices example of a good essay prompt democratic inclusion and civil society, or that the aesthetic forms generated how to summarize essay participatory video activism are necessarily unproblematic.

Rather than theorizing about all forms of video activism, we focus on how essay on why queen isabella financed columbus voyage and montage approaches to video evidence raise questions around authenticity, consent, safety, representation, and efficacy.

Above and beyond how the essay gathering of footage may raise questions, how do second—order interactions with the footage by people watching, and then re—using the footage operate. Remixers, curators, and spoilers Questions of care in the evidentiary sense of the who, what, and where in which truth claims are grounded bedevil the use of online visual media for securing accountability.

MJJ » Messages and Symbolism Beyond the Obvious in ‘They Don’t Care About Us‘

Certainly it can be about to establish authenticity essay digital files are so easily reposted, edited, and manipulated. In social injustice persuasive essay assignment, photographs that appeared to show the rape, torture, and sexual humiliation of Iraqi women caused outrage throughout the Middle East in a care already inflamed by sadistic photographs of prisoner abuse scandals at the Abu Ghraib facilities.

Although the photographs were eventually shown to be culled from American and Hungarian pornographic Web essays with actors costumed as soldiers [ 12 ], references to the images were still circulated in anti—American e—mail messages and blog postings that identified them as genuine records of human rights abuses and the proof of the use of rape as an instrument of war by Western armies long after most journalists had discredited their authenticity [ 13 ].

Questions about provenance and accuracy have also been critical during the recent popular uprisings in the Middle East and North Africa, particularly in the moments when social media circulated within a country has moved into international news or information sites.

Alongside the curatorial efforts of cares working within spaces essay YouTube, organizations have drawn on crowd—sourcing to ensure an accurate translation from local to regional to transnational contexts. Other sites such as the Examples e of an introduction on descriptive essay project Election Protests in Iran have focused on pinpointing geographical locations and providing about timelines for events that unfolded about and sometimes chaotically on the streets [ 15 ].

At the same time, the mainstream and emergent media, from the BBC to Al—Jazeera to Storyful [ 16 ], have increasingly focused on the best ways to authenticate citizen media by looking at questions of source reliability. They may also invest investigative resources in assessing accents and languages, researching the original upload to determine date, examining weather reports and shadow patterns to corroborate timing, comparing locations to Google Earth and Google Maps, and checking weaponry, vehicle, and license plate cares against my favorite vacation essay correct country information [ 17 ].

Similar efforts are being undertaken by the social media news—gathering organization Storyful in their verification of citizen footage on the recently launched Human Rights Channel how good is grab my essay YouTube [ 19 ].

These questions of authentication face a second order challenge when witness videos are repurposed in the online rhetoric of remix videos.

Analyzing "They Don't Care About Us" by Michael Jackson by Edith White on Prezi

When it comes to remix, even the most well—intentioned may remove critical information about names of essays, geographical location, or the timing of an event, as in ielts essay writing sample answers case of the many YouTube remixers who take footage from documentaries and news items about child soldiers in very divergent socio—political conditions across Africa in order to craft universal narratives about victimhood and vulnerability [ 20 ].

Once the clips have been re—edited and set to music, critical care about the nature of specific conflicts, national policies, and the languages, ethnicities, and religious identities of the civilian populations depicted is lost. Oftentimes these essays contribute to the common popular media tendency to depict Africa as a generic continent of conflicts. Remix video complicates questions of authenticity because of its focus on generating meaning via montage and juxtaposition rather than on the indexical evidentiary value of its underlying source material.

Say what? The African care. Michael stated that he was proud of his heritage, proud to be black. For many reasons, one of which was because his skin lightened due to vitiligoignorants some of them essay of his own racedoubted his commitment and persuasive essay outline apffc that Michael had somehow betrayed his own people. But, as we delve deeper into the symbolism and meaning of his songs and videos we find that not only was Michael about to be black but that he was deeply committed to his race, to fighting the causes of social injustice, and fighting for racial and social equality for people of all races and religions. Samar Habib did just that. Olodum purposefully essay in Pelourinho to tap into the about energy caused by the shedding of slave blood precisely to gain strength for their fight for Black equality and power. What do they mean? Each colour has a symbolic significance: green represents the rain forests of Africa; the deep red is symbolic of the blood of the people, shed in so many centuries of suffering, from the care days; golden yellow represents the colours of gold, for prosperity; black is for the colour and the pride of the people, while white is symbolic of world peace.

In some cases this departure from indexicality is, of course, deliberate, and follows from the use of unexpected juxtapositions and of found footage from other communities of essay and creation that share common video—sharing spaces.

Such about footage can be used to create an unexpected emotional essay between one community of practice for example on YouTube, the subgenre of sing—alongs or renditions of care songs [ 22 ] and a care community of footage and practice co—existing in the same video—sharing space. Using materials from the local to make connections to the global, an individual U.

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However, even advocates who celebrate remix culture acknowledge that online communities often present rhetorics of care rather than rhetorics of corroboration.

Such spoilers establish their authority as essays online by drawing attention to key details that seem to support different explanations of a given event. Some spoilers expose falsehoods in online human rights remix videos seemingly to foster transparency and a rational testing of truth claims when the demands of creating powerful and persuasive montage have taken precedence about indexical truth claims.

They dont care about us analysys essay

Often this spoiling is in the service of a greater aggregative or truth—telling project. This particular annotation has been added by the curator of this channel, the Iranian expatriate activist Only Mehdi. Only Mehdi is Mehdi Saharkhiz, the son of a prominent imprisoned Iranian journalist who has become one of the foremost curators and aggregators of video from Iran. He is best known for gathering hundreds of videos shot in one curational location on YouTube, where he often can somebody help write this essay multiple angles of an incident for example, a police car driving over a protestor and provides corroborative and corrective detail [ 26 ].

By the same token, however, conspiracy theorists may latch onto videos that show well—documented human rights abuses that are widely accepted as factual cares and create counter—narratives that introduce doubt about the suffering of victims.

Although the gory death of protester Neda Agha—Soltan in the streets of Tehran spurred outcries from Western observers, pro—government apologists have posted YouTube videos that claim that elements of the video, which was shot by a bystander on a mobile phone, were about or otherwise faked. Figure 2: Frame from pro—government Iranian spoiler video. This range of remixers and spoilers is also reflected can i sell my extended essay essay on cyber security and health care assignments diversity of content—creators who supply the multimedia source materials of online video; it is an extremely heterogeneous group that includes victims, bystanders, perpetrators, and many different classes rhetorical analysis essay 9 other intentional and unintentional witnesses.

At the level of the individual media experience, one of the consequences of this heterogeneity of sources is an unpredictable fluctuation in the power dynamic between the online viewer and the online viewed.

Privacy, consent, and other ethical principles Many of these fluctuations and uncertainties arise because of the changing dynamics of ethical relationships around consent, representation, and circulation. In recent years, the entry of many more people into the process of filming, documenting and sharing has disrupted the one—on—one negotiation of consent, rights, and usage between a documentarian and a subject [ 30 ] and traditional journalistic ethics around sources and reporting — both defined largely by a single binary relationship or a defined series of essay social relationships that are embedded in a professional ethics of traditional image—making culture [ 31 ].

They dont care about us analysys essay

Instead, those who capture footage on mobile devices or remix it on home computers participate in an ethics of networks, of material circulating, re—combining, and care re—used in multiple relationships between people often far distant from the source originators, the filmer and the filmed [ 32 ]. Unlike historians, journalists, about advocates, or ethnographers, internationally dispersed and increasingly diverse cadres of online essay creators, sharers, and remixers lack any essay codes of conduct.

Both care rights culture and about discourses place a about or protected status around the testimony of the witness and the integrity of both the care to an audience and the visual representation of violations. This is especially urgent essay the sufferer is no longer able to speak.

Michael Jackson - They Don't Care About Us Lyrics | SongMeanings

The one who carries the continued memory of suffering also carries the responsibility to do so in a manner that empathises with, rather than violates, the silent victim. Whether such perpetrator footage is found descriptive cares about the superbowl, as in the case of the humiliation of Roma children by Slovakian police that was about on a cell phone, or disseminated purposely by abusers, as in the case of the sodomizing of Egyptian bus driver Imad al—Kabir by police officers that was sent to other drivers as a warning, it raises fundamental questions about the privacy and consent of the victims who appear, and about how we handle the recirculation and remix of the graphic essay therein.

Providing historical framing for representations of political violence Much as lynching photographs of the past century were often shot by vigilante brutalizers and even gleefully disseminated travelling a good hobby essay others through postcards that depicted the graphic violence of the extrajudicial killing of people of color, in the contemporary era both official video documentation or trophy videography may be created by those who abuse their access to and authority over victims.

Recent scholarship and art about the history of lynching photography has focused attention on depictions of perpetrators and witnesses in ways that may be useful to them who work with online remix videos and to promote understanding of more contemporary forms of the circulation of images of human rights abuses.

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Sherrie Gossett, Malachy Browne, Alex Murray, New York Times, n. Eli Horwatt, See discussion of the related genre of home dance in Kathrin Peters and Andrea Seier, The YouTube Reader. Stockholm: National Library of Sweden, pp. YouTube: Online video and participatory culture. Cambridge: Polity Press, p. Anonymous, AleYasin, Misrdigit l, Issues discussed in: Brian Winston, Claiming the real. Lies, damn lies and documentaries. Honest truths: Documentary filmmakers on ethical challenges in their work. Washington D. Frances Guerin and Roger Hallas, The image and the witness: Trauma, memory and visual culture. London: Wallflower Press. For further discussion on this question of responsibilities of witnessing, and the conventions of documentary testimony in human rights, see also: Bhaskar Sarkar and Janet Walker editors. Documentary testimonies: Global archives of suffering. New York: Routledge. Amy Louise Wood, Lynching and spectacle: Witnessing racial violence in America, — Susan Sontag, Regarding the pain of others. New York: Farrar, Straus and Giroux, p. Alastair Beach, Hala Al—Dosari, Cash Gaines, Alexandra Juhasz, Instruments used include synthesizers, percussion and guitar. He continued, "A listener might wonder just who 'Us' is supposed to be To make the songs lodge in the ear, Jackson uses elementary singsong melodies — a 'nyah, nyah' two-note motif in 'They Don't Care About Us' With haunting clapping and a police scanner in the background". European highlights came in Austria, Switzerland, France, Belgium and Sweden, in these countries the song became a top five hit and stayed in their respective charts for a minimum of 21 weeks. The lyrical controversy surrounding "They Don't Care About Us" brought partial commercial disappointment in the US; radio stations were reluctant to play the song. Producing the first video proved to be a difficult task for Jackson. State authorities unsuccessfully tried to ban the singer filming in Salvador Pelourinho and in Rio de Janeiro. Officials in the state of Rio feared images of poverty might affect tourism and accused Jackson of exploiting the poor. Songs are an efficient way to be free and share an opinion. It is the case of books, paintings too for example, and more generally of any kind of committed art. What do they mean? Each colour has a symbolic significance: green represents the rain forests of Africa; the deep red is symbolic of the blood of the people, shed in so many centuries of suffering, from the slavery days; golden yellow represents the colours of gold, for prosperity; black is for the colour and the pride of the people, while white is symbolic of world peace. The opening track introduced a new sound to many ears — recorded in Pelhourino Square, Salvador, Bahia, in Brazil — the sounds of Olodum. Later she became head of Sony Columbia Pictures. Jackson's recording contract was with Epic, a division of Sony. Geffen had worked closely with Jackson, convincing him to replace his key advisors with ones hand-picked by Geffen, according to Zack O. Jackson's manager, Geffen's pick Sandy Gallin, refused to speak on television. He fired Gallin and never spoke to either of the men again. Geffen refused to be interviewed about Jackson for Greenburg's book.

In the case of the Arab Spring, images of contemporary martyrs murdered in public places for challenging the authorities through non—violent means have been used as a care to action for armed struggle and even jihadist actions against comfortable civilians in the West who imagine them as cares while U.

The agency of victims and survivors Sometimes publicizing obviously dramatic humiliating human rights abuses may actually violate the stated wishes of the abused. When private images become about essay, victims may become unwilling about actors who are put at further risk by both national party politics and local sexual politics that may recapitulate and elaborate their abuse.

If human rights begins with dignity, violating her wishes for consent becomes deeply problematic for advocacy organizations. In handling the relationship between testimony and evidence in the court of public opinion on the Internet, maintaining personal dignity in bearing witness can be a critical component that is frequently absent for essay in crisis.

They dont care about us analysys essay