Picturing Protest

• Published in: American Behavioral Scientist
• Main Authors: Corrigall-Brown, Catherine, Wilkes, Rima
• Format: Article in Journal/Newspaper
• Language: English
• Published: SAGE Publications 2011
• Subjects: First Nations
• Online Access: http://dx.doi.org/10.1177/0002764211419357; http://journals.sagepub.com/doi/pdf/10.1177/0002764211419357; http://journals.sagepub.com/doi/full-xml/10.1177/0002764211419357

Images of collective action shape public understanding of social movement campaigns and issues. Modern media includes more images than ever before, and these images are remembered longer and are more likely to elicit emotional responses than are textual accounts. Yet when it comes to media coverage of collective action, existing research considers only the written accounts. This means that little is known about the extent to which images of collective action events conform to or diverge from the “protest paradigm,” a pattern of reporting found in articles that tends to marginalize protesters and legitimizes authorities. The authors address this gap by analyzing newspaper photographs of one of the most significant recent cases of Indigenous-state conflict in North America—the 1990 “Oka Crisis.” This 78-day armed standoff between Indigenous peoples and Quebecois and Canadian authorities was sparked by the attempted expansion of a golf course onto Mohawk territory. The mass media produced thousands of articles and photographs in their coverage of the event. This article uses these photographs to assess the manner in which images frame collective action and collective actors. The authors find that images of collective action frame these events differently and in a more nuanced way than do textual accounts. For example, while challengers are just as likely to be shown in images of collective action, they are less likely to be specifically named. In addition, officials are more likely to be shown in dominant positions, but certain groups of officials (particularly government representatives) are also the most likely to be shown as emotional and angry. These findings illustrate the sometimes conflicting messages depicted in images of collective action.