Samenvatting
Samenvatting Journalistieke vaardigheden Beeld
samenvatting bevat Nederlandse en Engelse artikelen.
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Samenvatting artikelen journalistiekDo pictures tell a different story? (Jungblut & Zakareviciute, 2019)
- A multimodal frame analysis of the 2014 Israel-Gaza conflict
Visual and textual information use different logics. While textual communication is mostly based on
argumentative statements, the understanding of visual communication depends largely on
association.
Visual framing may convey meanings that would be more controversial or might meet with greater
audience resistance if they were conveyed through words.
Both visual and textual framing research points out that the power of framing mostly lies in the
emphasis of one specific interpretation of events over others. Here, framing research indicates that
news coverage tends to emphasize ethnocentric perspectives and over-represent official or elite
interpretations of events.
- Case study -> Israel Gaza conflict
Research Questions
RQ1: What frames – textual and visual – were used in the US online news coverage of the 2014 Israel
– Gaza conflict?
RQ2: What visual and textual frames occurred in the same articles of the US online news coverage of
the 2014 Israel – Gaza conflict?
RQ3: How did the use of frames in the US online news coverage of the 2014 Israel – Gaza conflict
change during different phases of the conflict?
RQ4: How does the combination of textual and visual frames within articles change during different
conflict phases?
Methods
Comparative framework -> it can be used to identify a frame’s main constituents: the reasoning
devices that form the frame structure and framing devices that further characterize the frame.
First part of the frame is the problem definition. In text -> what is the issue mainly about. In visual ->
what and who is depicted? Where is it depicted?
Second part is indicating who is responsible for the main problem.
Third part suggesting future remedies for the problem.
Final part is the evaluation of the focal concern. In text -> is the concern positive, negative or neutral?
In visual -> through a combination of the applied camera angle and the picture’s involvement, an
evaluation is implicated.
Quantitative analysis of three US news outlets; New York Times, Time Magazine and Huffington Post.
Focusing on online news coverage. 50 articles from each outlet. In total 219 pictures were coded.
Two-step cluster analysis.
,Results
RQ1: The cluster analysis differentiates two textual frames in the news coverage. The first we have is
called a “Fighting Textual Frame”. Thematically, the frame often describes the fighting and
bombardments, consequences of war and suffering, death as well as injuries. These issues are
characterized as the responsibility of either Israeli actors or the fighting in general. It relies heavily on
emotional language. Events are mostly described in a negative manner and the frame relies rather on
factual statements than interpretations. The usage of lexical tools did not differ between both frames
and was prominently used in about one-third of the texts.
The second frame we have is labelled “Political Textual Frame”. Thematically, the frame focuses on
negotiations and political decisions and developments. The responsibility for them is mostly not
ascribed at all or it is ascribed to the cause of preventing further suffering. Compared to the “Fighting
Textual Frame”, the “Political Textual Frame” uses less emotional language, more interpretations and
a less negative evaluation.
In addition to the two textual frames, we were able to identify three visuals. The first frame is
“civilian suffering visual frame”. Mostly depicts Palestinian civilians. Focuses on destroyed buildings,
help, dead and injured bodies and grief. It rarely uses symbols.
The second visual frame is “Israel (military) visual frame”. Focuses on Israeli military actors, Israeli
civilians or Benjamin Netanyahu. Depict portraits, troops and troop movement and fighting. It uses
the most symbols of the three frames.
The third frame is “Bombardment visual frame”. It focuses mostly on sceneries in Gaza or the border
territory. Show bombardments, fighting and destroyed buildings. It rarely uses symbols.
RQ2: Overall, the “Civilian Suffering Visual Frame” more often occurs in combination with the
“Fighting Textual Frame”, whereas the “Israeli (Military) Frame” often goes together with the
“Political Textual Frame”. The occurrence of the “Bombardment Visual Frame” does not differ
significantly between both textual frames. At the first glance, the general application of frames
, suggests that media outlets adopt a complimentary strategy in using visual and textual frames,
where visuals provide additional information either on the consequence of or responsibility for the
textual frame.
RQ3: These results, however, become more nuanced when focusing on each conflict phase
separately. Overall, the textual frames seem to change in accordance with the events on the ground
since the usage of the “Fighting Frame” decreases and the reliance on the “Political Frame”
increases. The application of visual frames, however, draws a different picture. While visual framing
is reasonably constant throughout the first two phases, the amount of pictures using the “Civilian
Suffering Frame” increases significantly in the last phase. This suggests that the relation between the
visual and the textual frames—and thereby the expressed meanings in both modes—might have
changed as well.
RQ4: the first two phases show a similar pattern of co-occurrence between visual and textual
framing. The “Fighting Textual Frame” often accompanies the “Civilian Suffering Visual Frame”,
whereas the “Political Textual Frame” often goes along with the “Israeli (Military) Visual Frame”. This
frame combination, however, changes in the third phase. Here, the relationship between the
“Fighting Textual Frames” and the “Civilian Suffering Visual Frames” is even stronger; moreover,
texts that use the “Political Textual Frames” are also accompanied more often by the “Civilian
Suffering Frame” images. Thus, whereas the number of texts that deal with negotiations and political
solutions rises throughout the conflict phases, the images that were previously accompanying it
(“Israeli (Military) Frame”) are exchanged for those that were initially combined with texts describing
events on the ground (“Civilian Suffering Frame”). This means that the level of correspondence
between textual and visual modes differ throughout the conflict.
To sum up, the overall coverage of the conflict changes significantly after the conflict enters the third
phase. While textual frames start focusing more on negotiations and, thereby, apply the “Political
Frame”, visuals increasingly focus on civilian suffering. In doing so, Israel is increasingly characterized
negatively in the visuals with the help of ascribing responsibility to them in the captions and stronger
evaluations thought as the depiction of suffering from a frontal perspective in an eye-level angle.
Therefore, the correspondence between the expressed meanings in the visual and textual modality is
stronger during escalation than during negotiations. Here, pictures more often tend to tell their own
stories and offer a frame that is (to some degree) independent from the textual layer.
Begrippen:
- Framing: framing contains selection and salience. This means that the transmitted pieces of
information need to be selected and ordered in a way that some chunks of information are
more relevant to what is being expressed than others. In addition, a frame suggests what a
discourse is about by relating the provided pieces of information to each other and
combining them to a coherent “central organizing idea”. Finally, since any frame relies on
one of several potential central ideas, it always expresses one of many suggested
interpretations of reality.
- Visual framing process: begins with the choice of events to cover, followed by the selection
of what pictures to take, how to take them, and which ones to submit.
- Modality: the level of “truth” value and veracity of the image. It investigates how accurately
a visual tries to represent a “reality” it depicts.
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