A nova face do terror: uma interpretação da propaganda audiovisual do Estado Islâmico como fenômeno cultural na era da midiatização
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2018-08-30
Autores
Costa, Ana Carolina
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Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa se propõe a investigar as marcas da cultura audiovisual contemporânea inscritas nas propagandas produzidas pela Al Hayat Media Center, braço midiático do Estado Islâmico (EI) especializado na produção de conteúdos em inglês e idiomas europeus. A investigação cerca-se de um repertório teórico que procura elucidar os motivos por trás das escolhas discursivas e técnicas que dão forma a essas produções, o que nos conduz a três etapas iniciais de trabalho. A primeira é o mapeamento do processo de ascensão dos movimentos fundamentalistas islâmicos modernos, o que nos dá um vislumbre da narrativa que influenciou o pensamento dos ideólogos criadores do Islamismo no século XX, cujas ideias servem como base para a construção do discurso do EI. O passo seguinte é desvelar as práticas midiáticas do movimento do qual o grupo deriva, mostrando como elas evoluíram paralelamente ao processo de globalização e disseminação de novas tecnologias da comunicação. Reflexões sobre os processos constitutivos da cultura e os impactos dos novos sistemas de informação e comunicação sobre eles, sob o viés da midiatização, completam a apreensão do fenômeno, assim como os parâmetros da cultural audiovisual contemporânea que nos ajudam a situar as ações do Estado Islâmico numa sociedade permanentemente "atacada" por bombas de imagens que reavivam o poder do realismo. A partir dessa base teórica, analisamos 10 vídeos lançados pela Al Hayat Media Center entre 2014 e 2016. Disponibilizados no repositório online mantido por Aaron Zelin, pesquisador do The Washington Institute For Near East Policy, eles atendem dois critérios principais: foram divulgados no período de ascensão do Estado Islâmico como personagem global (por isso sintetizam seus anseios e estratégias publicistas) e constituem uma rica amostra do hibridismo das peças audiovisuais do grupo destinadas à audiência ocidental, sustentando a hipótese de que elas fundem elementos da cultura audiovisual contemporânea e da cultura jihadista, neste caso fortemente representada pelo formato do vídeo nashīd. Nos propomos a identificar as características de cada produção e traçar pontos de conexão que nos permitem agrupá-las em grandes categorias, que chamamos de "marcas audiovisuais" e cujo objetivo é provar onde a propaganda do Estado Islâmico busca seu respaldo. Para tanto, propomos um método de análise baseado no esqueleto metodológico criado por Francis Vanoye e Anne Goliot-Lété (1994) para analisar os spots publicitários. Ele baseia-se em dois eixos centrais: estilo e discurso. O primeiro é composto por quatro diretrizes que nos ajudam a descrever a estrutura dos vídeos e determinar suas particularidades estilísticas: duração, matéria visual, característica dos planos e montagem. O segundo eixo procura determinar como a mensagem do grupo é articulada em cada vídeo. Para isso, propõe três locais de observação baseados na funcionalidade do "contrato de comunicação" proposto por Patrick Charaudeau (2006). A combinação desses dois polos nos permite comprovar que a propaganda do EI dispõe de lógicas construtivas e ferramentas de edição naturalizadas pela cultura audiovisual contemporânea, o que converte o arsenal simbólico do Estado Islâmico num exímio exemplar da nova face do terror.
This study aims to investigate the marks of the contemporary audiovisual culture inscribed in the propaganda produced by Al Hayat Media Center, a media arm of the Islamic State (IS), specialized in the production of content in English and European languages. The investigation bases on a theoretical repertoire, which seeks to clarify the motives behind the discursive and technical choices that shape these productions, leading us to three initial stages of work. The first is the mapping of the ascension process of modern Islamic fundamentalist movements, which gives us a glimpse of the narrative that influenced the thinking of the ideologists who created Islamism in the 20th century and whose ideas serve as the basis for the construction of the IS discourse. The next step is to unveil the media practices of the movement from which the group derives, showing how they evolved in parallel to the process of globalization and dissemination of new communication technologies. Reflections on the constitutive processes of culture and the impacts of the new information and communication systems on them, under the mediatization bias, complete the apprehension of the phenomenon. In addition, the parameters of contemporary audiovisual culture help us situate the actions of the Islamic State in a society permanently “attacked” by bombs of images that revive the power of the realism. It is the background, which supports the analysis of 10 videos released by the Al Hayat Media Center between 2014 and 2016. Available in the online repository by Aaron Zelin, a researcher at the Washington Institute for Near East Policy, they respond to two main criteria. One of them being the fact that they were released in the ascension period of the IS as global character (for this reason synthesizes its publicist longings and strategies) and constitute a rich sample of the hybridism of the group’s audiovisual pieces intended for the western audience. The other is the evidence that they sustain the hypothesis that they merge elements of contemporary audiovisual culture and jihadist culture, in this case strongly represented by the format of nashīd video. From the detailing of the videos, we propose to identify the characteristics of each production and draw points of connection between them to group them into large categories, which we call “audiovisual marks” and which the objective is to prove where the Islamic State propaganda seeks its backing. For this purpose, we propose a method of analysis based in the methodology framework developed by Francis Vanoye and Anne Goliot-Lété (1994) to scrutinize a genre that shares the genetic material of our object of study: the propaganda spots. It bases in two central axes: style and discourse. The first one consists of four guidelines that help us to describe the structure of the videos and determine their stylistics particularities: duration, visual material, characteristic of plans and assembly. The second axis seeks to determine how the group message articulates in each video. To this end, it proposes three observation spots based on the functionality of the “communication contract” proposed by Patrick Charaudeau (2006). The combination of these two poles allows us to proof that the IS propaganda has constructive logics and editing tools naturalized by the contemporary audiovisual culture, which turns the symbolic arsenal of the Islamic State into an eximious model of the new face of terror.
This study aims to investigate the marks of the contemporary audiovisual culture inscribed in the propaganda produced by Al Hayat Media Center, a media arm of the Islamic State (IS), specialized in the production of content in English and European languages. The investigation bases on a theoretical repertoire, which seeks to clarify the motives behind the discursive and technical choices that shape these productions, leading us to three initial stages of work. The first is the mapping of the ascension process of modern Islamic fundamentalist movements, which gives us a glimpse of the narrative that influenced the thinking of the ideologists who created Islamism in the 20th century and whose ideas serve as the basis for the construction of the IS discourse. The next step is to unveil the media practices of the movement from which the group derives, showing how they evolved in parallel to the process of globalization and dissemination of new communication technologies. Reflections on the constitutive processes of culture and the impacts of the new information and communication systems on them, under the mediatization bias, complete the apprehension of the phenomenon. In addition, the parameters of contemporary audiovisual culture help us situate the actions of the Islamic State in a society permanently “attacked” by bombs of images that revive the power of the realism. It is the background, which supports the analysis of 10 videos released by the Al Hayat Media Center between 2014 and 2016. Available in the online repository by Aaron Zelin, a researcher at the Washington Institute for Near East Policy, they respond to two main criteria. One of them being the fact that they were released in the ascension period of the IS as global character (for this reason synthesizes its publicist longings and strategies) and constitute a rich sample of the hybridism of the group’s audiovisual pieces intended for the western audience. The other is the evidence that they sustain the hypothesis that they merge elements of contemporary audiovisual culture and jihadist culture, in this case strongly represented by the format of nashīd video. From the detailing of the videos, we propose to identify the characteristics of each production and draw points of connection between them to group them into large categories, which we call “audiovisual marks” and which the objective is to prove where the Islamic State propaganda seeks its backing. For this purpose, we propose a method of analysis based in the methodology framework developed by Francis Vanoye and Anne Goliot-Lété (1994) to scrutinize a genre that shares the genetic material of our object of study: the propaganda spots. It bases in two central axes: style and discourse. The first one consists of four guidelines that help us to describe the structure of the videos and determine their stylistics particularities: duration, visual material, characteristic of plans and assembly. The second axis seeks to determine how the group message articulates in each video. To this end, it proposes three observation spots based on the functionality of the “communication contract” proposed by Patrick Charaudeau (2006). The combination of these two poles allows us to proof that the IS propaganda has constructive logics and editing tools naturalized by the contemporary audiovisual culture, which turns the symbolic arsenal of the Islamic State into an eximious model of the new face of terror.
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Palavras-chave
Estado Islâmico, Midiatização, Cultura visual, Propaganda, Islamic State, Mediatization, Visual culture