INTERVIEW SERIES: Media Arts, Visual Communication Design, and Technologies INTERVIEWER: Gökhan Çolak INTERVIEWEE: Shahira S. Fahmy

Your research shows that visual framing can significantly shape how audiences understand conflict. How has the power of visual framing changed in the age of social media and instant image circulation?

The power of visual framing has undergone a profound transformation with the rise of social media. In today’s digital landscape, images can be disseminated instantly, allowing narratives to spread widely and quickly. This immediacy enhances the potential for diverse voices to emerge, giving individuals and groups the power to share their experiences from the ground. However, this same environment has led to the manipulation of narratives by those with greater resources who can dominate the discourse. We’re seeing a shift where images are often used for sensationalism or propaganda, making it crucial for both journalists and audiences to cultivate media literacy skills to navigate these complex landscapes effectively.

As a scholar of peace journalism, how do you define a “peace-oriented” visual narrative, and how does it differ from conventional conflict-driven imagery?

A “peace-oriented” visual narrative goes beyond merely depicting the absence of war; it focuses on themes of empathy, resilience, shared humanity, and potential solutions to conflict. It contrasts sharply with conventional conflict-driven imagery, which often emphasizes destruction, violence, and division. Rather than showcasing just the chaos of war, peace-oriented visuals aim to highlight stories of reconciliation, collaboration, and hope. For instance, images that show community members coming together after conflict to rebuild or support one another can inspire a more forward-looking dialogue.

War and crisis images can inform but also traumatize. What ethical principles should guide editors and journalists when deciding which images to publish?

The ethical principles surrounding the publication of war and crisis images must prioritize the dignity and humanity of the subjects depicted. Editors and journalists should critically assess not only the impact of images on audience perception but also the potential for re-traumatizing individuals and communities. Ethical journalism requires a commitment to context; it’s essential to accompany powerful images with accurate narratives that promote understanding rather than sensationalism. Moreover, journalists should consider the long-term implications of their choices, ensuring that they do not contribute to harmful stereotypes or perpetuate cycles of violence.

Your recent work examines digital activism and emerging technologies. How are digital tools transforming the visual politics of protest and resistance?

Digital tools have radically altered the dynamics of protest and resistance by enabling activists to capture, produce, and disseminate their narratives directly. Platforms like TikTok, Instagram, and X (Previously Twitter) empower individuals to share their stories in real-time, offering a counter-narrative to mainstream media coverage that may overlook grassroots perspectives. However, the instant nature of these tools also poses challenges, as visual content can be taken out of context or manipulated to fit specific agendas. The visual politics of resistance now also involve negotiating the complexities of digital surveillance and the potential for backlash against activists. This dual-edged nature of digital activism illustrates the need for strategic thinking about how visuals are used within these multilayered environments.

In conflicts, certain regions and people are repeatedly depicted through stereotypical visual tropes. How can journalism move beyond these dominant visual templates?

Moving beyond dominant visual tropes requires a conscious effort from journalists to seek out and amplify diverse narratives. This can involve collaboration with local communities to ensure that their voices and experiences are front and center in the visual representation of conflict. Journalism education plays a crucial role here by teaching future reporters to think critically about the images they choose to publish and to actively challenge existing narratives that reduce complex human experiences to simplistic stereotypes. Building partnerships with local storytellers and prioritizing inclusive representation can enrich the visual landscape and provide a fuller, more accurate portrayal of affected communities.

With AI-generated and manipulated images becoming more common, how should news organizations rethink visual verification and credibility?

The advent of AI-generated images demands a reevaluation of how news organizations approach visual verification. Traditional methods may no longer suffice; thus, organizations need to invest in training their teams to recognize manipulated content and adapt to emerging technologies. Implementing stricter verification protocols that involve cross-referencing images with reputable sources and employing digital forensic tools is essential. Furthermore, educating the audience about these challenges is important, as media literacy will empower consumers to critically engage with visuals and demand accountability from news organizations.

You have worked across many countries and media systems. Do audiences in different cultural contexts read and interpret news images differently?

Absolutely. Audiences interpret news images through the lens of their cultural backgrounds, personal experiences, and societal narratives. Factors like local history, politics, religion and social norms greatly influence how visuals are perceived. For example, an image that evokes sympathy in one context may be interpreted as propaganda in another, depending on historical relationships and current events. By understanding these cultural nuances, journalists can tailor their visual storytelling to resonate more effectively with diverse audiences, ultimately fostering better communication and understanding.

How can journalism education better prepare future reporters and editors to think critically about images, not just text?

Journalism education must integrate visual literacy into its core curriculum. This includes teaching students not only how to analyze and create compelling visual narratives but also to critically assess the implications and ethics of image use. Practical workshops that involve hands-on experience in visual storytelling, combined with theoretical frameworks around visual communication, can enrich their understanding. Encouraging students to reflect on the emotional and ideological impacts of imagery can foster a generation of journalists who are adept at navigating the complexities of visual media.

You have collaborated with institutions such as NATO and the UN. How can academic research on visual communication practically inform policy and international conflict reporting?

Academic research can provide valuable insights that inform policy by highlighting the importance of ethical visual narratives and their impact on public opinion. Collaborations with institutions like NATO and the UN can bridge the gap between theory and practice, allowing researchers to contribute to policy discussions and training programs that emphasize responsible visual communication. Academic findings can guide international organizations in developing best practices for conflict reporting and enhance the effectiveness of their visual narratives to support peace-building initiatives.

Looking ahead, what gives you hope for more ethical, peace-oriented visual journalism in an increasingly polarized and digital media environment?

Hope lies in the increasing awareness of the importance of ethical journalism among both emerging journalists and audiences. The younger generation is more attuned to issues of representation and the impact of narratives on societal perceptions, often advocating for change within media landscapes. Additionally, the rise of grassroots movements that emphasize community engagement and visual storytelling provides an opportunity to reposition narratives toward peace and understanding. As more voices enter the dialogue, there is potential for transformative change in how we approach conflict reporting visually.