stereo / Englisch
SHARE SNITCH PROJECT shows three works of an internet project. All videos are copies of several YouTube clips about current wars, which are newly illustrated with scenes of movies and TV-series. After the manipulation, they are republished under identical names on YouTube. (www.youtube.com/movieganda)
Over the last years a participatory journalism developed that places its coverage directly on user based content sides, such as YouTube. These reportages are based on grass root journalism and are therefore perceived as authentic war reporting.
Especially during the Third Gulf War / Second Iraq War, this form of journalism served as an opposition to the indoctrinated war reporting of the official media. Due to the imposed regulations of the pool system after the Vietnam War, green phosphorescent night vision camera shots, military maps or the latest videos of remote controlled weapons were all that was shown to the public.
Only a few chosen military journalists were brought to certain places within the war zone, where their filming and investigations were overseen. Afterwards this material was shared with journalists that had to stay behind. Due to the pressure of the media industry, as well as the changing media landscape, which was becoming more heterogeneous, especially since the founding of Al-Jazeera and Al-Arabija that severely weakened CNN´s monopoly, embedded journalism was developed. After passing a short basic military training, journalists were now able to spend a whole campaign with a unit. Though the flow of information was liberalized, even experienced journalists lost objectivity by growing close to formerly anonymous soldiers, who they became depended on and sooner or later solidarized with.
In every democratic society everyone has the right of communication. This includes informing oneself on a certain topic, as well as actively being a part of the opinion and decision making process. The question of how to enter the media existed merely due to practical reasons. Active participation of the citizen within mass media communication was only possible in individual cases or by joining a political or social group.
Since web 2.0 and the development of certain Internet portals, every user that owns a camera or cell phone is able to report on something, which may be received in a short period of time by viewer all around the globe. The liberalization of active media access for spreading information can be seen as an act of democratization of coverage. This influences the shaping of public opinion that may be more objective and just.
Media literacy and responsibility are still very important factors when receiving any information. When consuming information, the viewer is not only influenced by his/her selective perception and possible preconceptions, he/she must also evaluate the credibility
and authenticity of the information.
This is a difficult task. For quite some time now, even seemingly objective media such as newspapers and television are quietly succumbing agitation. The media attempts to separate news and opinion. If one takes a closer look at US serials, it becomes clear that as early as the 80s, especially after the Watergate affair and the Vietnam War, the entertainment sector of American television was trying to burnish the domestic and foreign political image. (e.g. A-Team, Magnum, Airwolf, Night Rider)
Over the last couple of years, this development was intensified by communication policy and the professionalization of public relations. In contrast to public media, the content of user based content sides is published anonymous. Therefore the sides have no publishing information and do not undertake duty of care. The credibility of a statement is difficult to evaluate when the transceiver is unknown. Even seemingly unedited video material may have been manipulated by advanced software.
Jarhead, Sam Mendes (2005) / Full Metal Jacket, Stanley Kubrick (1987) / Airwolf, Donald P. Bellisario (1984-86) / Tal der Wölfe (Kurtlar Vadisi), Serda Arki (2006) / Tears of the Sun; Antoine Fuqua (2003) / 24, Joel Surnow & Robert Cochran (since 2001) / Platoon, Oliver Stone (1986)