Titlebook: Legacies of the Degraded Image in Violent Digital Media; Stuart Marshall Bender Book 2017 The Editor(s) (if applicable) and The Author(s)

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Stuart Marshall Bendererial rights that are notionally comparable to other material values. Indigenous people perceive property only partially in these terms and place greater emphasis on origins and obligations of property within an understanding of community that is alien to modern culture..If property is recognized to

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Stuart Marshall Benderh includes international human rights law, international culThis book analyses the legal aspects of international claims by indigenous peoples for the repatriation of their cultural property, and explores what legal norms and normative orders would be appropriate for resolving these claims. To estab

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,They Shoot Pixels Don’t They? Killing Pixels from , to , and ,, WikiLeaks release of . (2010), actual US Apache helicopter gun camera footage in Iraq in which the crew attack civilians, is compared with the fictional depiction of virtualized combat in the satellite sequence from Hollywood spy-thriller . (1992). Second, videogames—including . and .—are examined

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Performing Murder on Live Television and Social Media,t of the ‘will-to-representation’, involve people conducting criminal acts simultaneously with the purpose of recording and sharing video of themselves in the process. This chapter addresses the impact of the typically low-grade aesthetic inherent to this material. This primary case study is the mur

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The Aesthetics of Sousveillance: , (2007),aded visual style to enhance its affective impact. This chapter shows how the film uses poor image media as integral components of its formal strategy to depict the aesthetic of .—or ‘surveillance from below.’ The argument draws upon a cognitivist account of spectators’ cerebral responses to defamil

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Splats and Splashes: The Drone Warfare Genre and Digitally Mediated Trauma,les (UAVs). The chapter uses ., ., and . as case studies to explore how the mediated image of UAV combat is depicted in this genre. It is shown that the genre tends to depict pilot trauma as a key component of the narrative. One of the sources for potential trauma is identified as related to the med

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Conclusion,d image aesthetic in violent digital media. The chapter argues that in contemporary cinema and real-life depictions of violence, low-quality imagery has retained a strong affective power primarily because of its defamiliarizing properties. This concept is applied briefly to three instances of public