The film of the Islamic State: the cinefication of Jihadi video
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Wiesbaden
Springer VS
[2024]
|
| Schriftenreihe: | Aktivismus- und Propagandaforschung
Research |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xvii, 405 Seiten Illustrationen |
| ISBN: | 9783658445546 |
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Datensatz im Suchindex
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Contents 1 The Film of the Islamic State—“Like Hollywood”? . 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2 The Proto-Film Period (2004-2006): Layman Video for Jihad . 2.1 2.2 2.3 2.4 2.5 2.6 2.7 3 Where ‘Hollywood’ Comes Into Play. . Approaching an Almost Unexplored Propaganda Film . Contrasts to the Islamic State’s Film . The Keys to Understanding Jihadi PropagandaVideo. The Islamic State’s Film as Post-Cinema?. Theses on the Cinefication of the Islamic State’s Film . Methodology . Corpus and Representativity . A Note on Viewing Conditions and Trauma Precautions . The Nicholas Berg Video (2004). Inside the Jama’at Media Wing . AQI Video Productions (2004—2006) . Foundation of the Mujahideen Shura Council. MSAM Video Releases . On Exhibition in the Islamic State’s Proto-FilmPeriod . Summary: The Proto-Period’s Long-Term Impact for a Cinefied Film Style . 1 5 9 11 20 27 32 35 38 43 53 54 66 70 74 76 85 87 The Islamic State of Iraq (ISI), 2007-2013: The Age of Serialization,
Shadow Authority, and Martyrs . 3.1 3.2 93 Promoting Statehood: The Joy of the Muslims and Accompanying Videos . 95 Hell of the Romans and Apostates in the Land of Iraq (2007-2009) . 102 xiii
xiv Contents On Local Exhibition, Part 1: The Establishment of al-Furqan Media Foundation . 107 3.4 Rise of the Martyrdom Genre . 115 3.5 On Local Exhibition, Part 2: Decimation and al-Baghdadi’s Rise to Power . 126 3.6 The Standardized Syntax, its Ideological Function, and Long-Term Impact .,. 135 3.7 Summary: TV-fication and the Aesthetic Channels of Cinefication. 138 3.3 4 The Islamic State of Iraq and the Levant (ISIL), 2013-2014: Broadening the Window to Jihad . 141 Jihadi Weeklies: New Tropes and the Introduction of Social Realism. 143 4.1.1 Journals: Promoting Transnational Jihadism Across Iraq and Syria . 143 4.1.2 The Establishment of the Islamic State: Herald of the Caliphate . 151 4.2 The Full HD Age: New Technology for a Broader Window to Jihad. 160 4.2.1 Video Technology in and since the ISIL Period . 161 4.2.2 The Islamic State’s Stance on Technology . 172 4.3 Clanging of the Swords 4: A Jihadi ‘Blockbuster’ . 175
4.3.1 Clanging of the Swords, Parts 1-3 (2012-2013): Advent of the “Movie Poster” . 175 4.3.2 Clanging of the Swords, Part 4 (2014): A Jihadi Montage of Attractions. 178 4.3.3 The Foray into Social Media: Clanging of the Swords 4 as a Case Study . 188 4.4 Exhibition Under ISIL: The New Order of Seeing (in) the Islamic State . 191 4.5 Summary: The Onset of Cinefication . 196 4.1 5 The Film of the Caliphate (2014—2016): Cinefication. 5.1 5.2 Breaking the Borders and Baghdadi’s Rise to Caliph . Video Genres: From Utopian Documentarism to Storified Ultraviolence . 204 5.2.1 Social Utopia . 5.2.2 Statehood . 5.2.3 Hisba and Iconoclasm. 199 200 205 210 215
Contents 5.2.4 Hijra . 5.2.5 Various Genres. 5.2.6 Amaq News Agency . 5.2.7 War. 5.2.8 Cubs of the Caliphate . 5.2.9 Corporal and Capital Punishment. 5.2.10 Notes on Censorship in theIslamic State’s Film. 5.3 The Making of Illusion, or: The Attitude towards Hollywood . 5.4 The Media Office Structure of the Caliphate . 5.4.1 Expansion of the Media Wing . 5.4.2 Prerequisites for Cinefication . 5.4.3 Media Personnel, Part 1: The Mark Antony of the Islamic State? . 262 5.5 Exhibition Offline and Online . 5.5.1 Public Cinefication . 5.5.2 Home Cinefication and the Elimination of Airwave Competitors . 270 5.5.3 Online Dissemination . 5.6 The Death Knell for the Islamic State’s Golden Film Period . 5.6.1 The Onset of Operation Inherent Resolve and Reactions by the Media Wing . 5.6.2
Operation Inherent Resolve Eliminates Central Media Leaders . 5.6.3 Transformation Symptoms in the Cinematic Output . 5.7 Summary: The Climax of Cinefication. 6 XV 220 224 225 227 233 237 249 251 256 256 259 267 267 271 273 274 276 278 280 The Downfall (2017-2019): Denialism . 283 6.1 A Cinematic Chronology of the Downfall . 284 6.1.1 Dystopia: The Divined Test Comes to the Caliphate . 285 6.1.2 The War Genre Takes the Stage . 288 6.1.3 The Cubs of the Khilafah Come of Age . . 292 6.1.4 Amaq News Agency: Raw Footage of Victimhood. 295 6.1.5 Extra-Territorial Video Production . 295 6.1.6 Inside the Khilafah . 296 6.2 The Leap of Faith into Animation. 297 6.2.1 A Theory of Animation in the Islamic State’s Film . 298 6.2.2 The Regulated Use of Animation. 302 6.2.3 Ontologically Transgressive Animation as a Threat to Ideological Consistency. 308
xvi Contents The Media Wing in Turmoil. 6.3.1 Decline of Media Personnel . 6.3.2 Schism: Takfirism Splits the Media Wing . 6.4 Inside the Khilafah 8—Global Takfir, To No Avail . 6.5 The Crackdown on Global Exhibition . 6.6 Summary: The End of Cinefication as Directed by the Hazimis . 326 6.3 312 313 316 320 323 329 Abu Ridwan al-Kanadi: The Voice of the Islamic State’s Film Surrenders . 330 Meanings of Steadfastness from al-Baghuz, Parts 1 and 2 (2019) . 333 The Best Outcome is for the Pious (April 2019-September 2019). 335 In the Guesthouse of the Emir of the Believers (2019) . 337 Outlook: Fault Lines of the Future . 342 7 . The Post-Caliphate Period (2019-today): Full Circle. 7.1 7.2 7.3 7.4 7.5 The Cinefication of Jihadi Video. 347 Bibliography. 357 8
The Film of the Islamic State The film of the so-called Islamic State is part of the still relatively opaque history of radical Sunni Islamist video propaganda, a field in which it is simultaneously its strongest exponent. Through its imports of aesthetics in the age of digitalization and the concurrent de-professionalization of film, this violent propaganda film has interestingly drawn attention for its seeming likeness to Hollywood film, an odd comparison that the Islamic State itself opposes through its own filmic antagonisms to commercial cinema. In an intermittent attempt at attacking cinematic illusionism, it has made increasing use of cinematic devices in order to communicate its violent and anti-humanist ideology - and has thereby entered a state of filmic self-contradiction. This book analyzes and uncovers the mechanisms and dynamics of ideological communication in the Islamic State’s videos through a combined historical and neoformalist approach, making them predictable for future researchers. About the author Yorck Beese is a film director, video producer and film scholar. During his time as a researcher in the junior research group Jihadism on the Internet (2017-2022), he has intensively researched the propaganda film of radical Sunni Islamism as well as other propaganda films. His fields of expertise include film analysis, propaganda film history, film aesthetics, and narratology. |
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| spelling | Beese, Yorck 1982- Verfasser (DE-588)1201398371 aut The film of the Islamic State the cinefication of Jihadi video Yorck Beese Wiesbaden Springer VS [2024] xvii, 405 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Aktivismus- und Propagandaforschung Research Dissertation Ruhr-Universität Bochum 2023 Film and Television Studies Film Studies Motion pictures Television broadcasting (DE-588)4113937-9 Hochschulschrift gnd-content Erscheint auch als Online-Ausgabe 978-3-658-44555-3 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035268765&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035268765&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title_full | The film of the Islamic State the cinefication of Jihadi video Yorck Beese |
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