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Image Politics: New Rhetoric of Enviromental Activismby Kevin Michael Deluca
Synopses & Reviews
This exceptional volume examines image events as a rhetorical tactic utilized by environmental activists. Author Kevin Michael DeLuca analyzes widely televised environmentalist actions in depth to illustrate how the image event fulfills fundamental rhetorical functions in constructing and transforming identities, discourses, communities, cultures, and world views. Image Politics also exhibits how such events create opportunities for a politics that does not rely on centralized leadership or universal metanarratives. The book presents a rhetoric of the visual for our mediated age as it illuminates new political possibilities currently enacted by radical environmental groups.
Chapters in the volume cover key areas of environmental activism such as:
*The rhetoric of social movements;
*Imaging social movements;
*Environmental justice groups; and
This book is of interest to scholars and students of rhetorical theory, media and communication theory, visual theory, environmental studies, social change movements, and political theory. It will also appeal to others interested in ecology, radical environmental politics, and activism, and is an excellent supplemental text in advanced undergraduate and graduate level courses in these areas.
DeLuca (speech communication, U. of Georgia) examines the use of image events as a rhetorical tactic to illustrate how environmental groups' visual discourse acts as their primary means of communication (often supplanting written or spoken arguments); how these image events can create opportunities for a politics that does not rely on centralized leadership; and how they can allow for alternative political meanings to emerge and disseminate even when activists are pictured negatively by the media.
and#147;Donand#8217;t cry for me, Crying Indian,and#8221; says Finis Dunaway in his brilliant and accessible new book about media depictions of environmental crises and environmental consciousness. Over 15 chapters, Dunaway transforms what we know about icons and events like the famous Crying Indian, Earth Day, the Three Mile Island nuclear power plant, the Exxon Valdez disaster, and Walt Kellyand#8217;s cartoon character Pogo, who met the enemy (who is us). Seeing Green is the first history of ads, films, political posters, and magazine photography in the postwar American environmental movement. From fear of radioactive fallout during the Cold War to anxieties about global warming today, images have helped to produce what Dunaway calls and#147;ecological citizenship.and#8221; They have also been used to tell us that and#147;we are all to blameand#8221; for the environmental state of the worldand#151;as if choosing not to recycle the newspaper and dumping millions of barrels of oil into the sea occupy the same moral realm.and#160; Dunaway heightens our awareness of how depictions of environmental catastrophes are constructed, manipulated, and fought over.
Volume describes principles and practices of environmental activists, and the use of images to promote causes. For environmental studies, rhetoric, and political communication scholars and students.
From Greenpeace protesters confronting whaling ships to Earth First! activists occupying trees to stop logging, radical environmentalists increasingly rely upon attracting mass media coverage to gain visibility and public support. This book examines the use of "image events" as a rhetorical tactic, one that often supplants written or spoken arguments. Widely televised environmentalist actions are analyzed in depth to illustrate how the image event fulfills fundamental rhetorical functions in constructing and transforming identities, discourses, communities, cultures, and world views. Beyond the rhetorical power of image events, DeLuca also shows how they create opportunities for a politics that does not rely on centralized leadership or universal metanarratives. Illuminating the new political possibilities currently being enacted by radical environmental groups, the book lays out a rhetoric of the visual for our mediated age.
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