Agitation and the web

Could a new wave of online video help transform politics?

The last few weeks have seen a new spate of agitational web videos, accompanying the amazing upturn of politicking in Britain in response to the brutal, ill-considered and philistine cuts proposed by the coalition government which took office last May.

Last May, as I noted at the time, was the first time an election in the UK had encountered Web 2.0, and "the intrusion of blogging, interactive amusement, social networking, twitter and user-generated content, including videos." Surveying the trends in those election videos, I found them "enjoyable but mostly not very honed, either aesthetically or politically." Which meant "that internet culture still has a long way to go, at least in the arena of national politics in the UK, before it moves on from reactive political agitation to a more progressive mode of active intervention."

It is now, I think, beginning to move on.

There are good selections of current web video at Coalition of Resistance and Counterfire. There are several strands to be observed. The first is video of actions-in-progress, mostly filmed with mobile phones, minimally edited and posted rapidly on the numerous blogs, Facebook pages and Twitter tags which have sprung up as part of the campaigning. For this is a form of politicking which thrives on social networking, as several journalists have realised.

The BBC education correspondent explained how "the protests that took place last week weren't organised by any conventional political organisation, but they managed to mobilise youngsters in towns and cities from Bournemouth to Edinburgh." Said the BBC man, they were "run through social networking websites, with little centralised control," adding the curious comment that "This DIY radicalism has its own news channels, on Facebook pages and Twitter accounts and blogs, leaving the traditional news organisations and political commentators looking in from the outside." Curious, because it's a rare admission of what is actually always the case with professional media journalism -- always on the outside looking in, usually through tinted spectacles (the kind with blinkers on them).

In short, as I wrote a few days ago, the dynamic of mass protest has been shifted by mobile media and social networking, which now constitute a new extended dimension of politicking. It is not only extra-parliamentary, but also outside of existing associations within civil society, like the National Union of Students -- except that they opening up new networks within civil society, or rather, at its fringes. Probably the best description I've come across of what is happening from inside the movement can be found in a poetically-titled post at Edinburgh University Anti-Cuts Coalition, On our chaotic swarm:

The occupations have formed a swarm network. This network is very hard to destroy. For every occupation that is forcibly evicted, five more have sprung up. We do not rely on leaders or student unions. And in doing so we lack weak links. We can afford to lose connections and nodes in this network, for new ones are continuously forming in their place.

As a networked, chaotic group we can act powerfully and unpredictably. We can appear larger than we are. More powerful than we are. From our nodes we can mobilise, organise. Entirely chaotically. We are inspirational. These are not my words. Our movement have been receiving global solidarity, and global coverage. Internationally similar protests are spawning. And they are looking to us for that inspiration. They are looking to us for methodology.

A tad utopian, but I'm an old 68-er, so I'm not complaining!

The presence of video in this chaotic swarming is well represented by the UCL Occupation, which has set up its own channels on Vimeo and YouTube. Examples here include video solidarity messages, addressed to other occupations or delivered by visitors to the UCL occupation. This extends to spots by celebrity guests at the occupations like comedians Mark Thomas and Richard Herring, and the singer Billy Bragg. Longer items include talks by supportive academics and writers, like Michael Sayeau on the power of advertising, or the economist Graham Turner on "The Economic Crisis - Where are we headed?" -- in other words, examples of what was called in the 60s the teach-in.

Occasionally, the scene is shot with a cinematic eye, like this brilliant single-take of the UCL occupation which at the aesthetic level could hardly be bettered.

 

One of the purposes served by these video-posts is to impugn in several respects the coverage of the television news channels (whose choicest bits are of course rapidly posted and tweeted and retweeted, especially when they involve some politician being embarrassed by an interviewer's question). For one, they counter the promotion to front-page infamy by the mainstream media of rare moments of protestor violence, by projecting a different image of the demonstrations, especially non-violent street actions. Flash mobs protesting tax-evasion by Vodaphone and TopShop clearly articulates popular anger. They not only focus "disaffection with the failure of conventional politics to respond to widespread concerns about tax justice", but annouce in symbolic form that there is a different way of funding the deficit.

Second, videos which provide evidence of the misbehaviour of the police, correcting the spin the police try to put on events. Examples here and here. The general rule, of course, that governs the creation of video for the web is to keep it short, but this is not an unsophisticated audience. There's a post of 11 seconds showing a policeman punching a demonstrator; an extended version was posted up in response to a viewer's request to see the context.

Third are videos from inside the occupations, which communicate the enthusiastic atmosphere, cooperative behaviour and positive attitudes which prevail among these protestors. Most of these are made by aficionados -- who doubtless include students on the creative practice courses which, because they belong to "arts and humanities", will have their public funding cut off. But they also include professional work by independent film makers like the Guardian team, such as their video of the UCL Occupation. This is a piece of professional reportage, sans the unctuous voice of a reporter, which corrects the bias of the meagre television reportage of the events. There are several similar videos here.

In short, agit web video serves to re-write the "narrative" (as in the PR man's lament that "we got the narrative wrong"). But it isn't just a trendy accompaniment to a chaotic movement. It not only punctures the dominant version of the mainstream media, but enters into its own circuit of positive feedback, both as counter-propaganda and instrument of mass action.

Overall, what strikes me is that one can see a range of videos here that are strongly reminiscent of the variety of sub-genres in recent activist video movements in Latin America, like indigenous video (video indigena) in Brazil and Bolivia etc., and the movement in Argentina which exploded into action nine years ago, known as cine piquetero. Not necessarily the same subgenres, but appropriate ones for the context. Is there something about the short form of agitational video which predisposes this kind of arrangement?

There is also a currently lesser trend made up of campaigning videos produced to support the new movement. They are mostly semi-professional, or the political work of multimediamedia professionals, lending their talents to the cause. They turn up within this circuit because they provide points of attachment to the wider oppositional culture to which the student movement as such necessarily belongs. Some of them are video lectures by eminent Marxists. Other examples include:

"An important message about the arts" -- a simple aninmated video by artist David Shrigley, which is amusing, but perhaps ideologically a little confused in giving too much emphasis to economic arguments to Save The Arts.

Poet Danny Chivers contributes Shop a Scrounger

and perhaps my favourite, a brilliant music video from Captain SKA:

 

Michael Chanan is a documentarist and film critic. He blogs at Putney Debater, and you can view his video of the Turner Prize teach-in here.

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Levi Bellfield, Milly Dowler and the story of men’s violence against women and girls

Before she was so inextricably connected to the phone hacking scandal, Milly Dowler was one of many women maimed and killed by a violent man.

The name Milly Dowler has meant phone hacking since July 2011. The month before that, Levi Bellfield (already imprisoned for the murders of Marsha McDonnell and Amelie Delagrange, and the attempted murder of Kate Sheedy) had been convicted of killing her, nine years after her death. But almost immediately, she became the centrepiece of Nick Davies’s investigations into Fleet Street “dark arts”, when it was revealed that News of the World journalists had accessed her voicemail during the search for her.

Suddenly her peers were not McDonnell, Delagrange and Sheedy, but Hugh Grant, Leslie Ash, Sadie Frost, Jude Law. People she could only have known from TV, now her neighbours in newsprint. Victims of a common crime. She had attained a kind of awful fame, and remains much better known than McDonnell, Delagrange and Sheedy.

There is a reason for that: with Milly Dowler, there was hope of finding her alive. Weeks of it, the awful hope of not knowing, the dull months of probability weighing down, until finally, in September 2002, the body. McDonnell, Delagrange and Sheedy were attacked in public places and found before they were missed. It is not such an interesting story as the schoolgirl who vanishes from a street in daylight. Once there were some women, who were killed and maimed by a man. The end.

Even now that Bellfield has confessed to kidnapping, raping and killing Milly, it seems that some people would like to tell any story other than the one about the man who kidnaps, rapes, kills and maims girls and women. There is speculation about what could have made him the kind of monster he is. There must be some cause, and maybe that cause is female.

Detective Chief Inspector Colin Sutton (who worked on the McDonnell and Delagrange murders) has said insinuatingly that Bellfield “dotes on his mother and her on him. It's a troubling relationship.” But it was not Bellfield’s mother who kidnapped, raped, killed and maimed girls and women, of course. He did that, on his own, although he is not the first male killer to be extended the courtesy of blaming his female relatives.

Coverage of the Yorkshire Ripper accused his wife Sonia of driving him to murder. “I think when Sutcliffe attacked his 20 victims, he was attacking his wife 20 times in his head,” said a detective quoted in the Mirror, as if the crimes were not Sutcliffe’s responsibility but Sonia’s for dodging the violence properly due to her. Lady Lucan has been successfully cast by Lucan’s friends as “a nightmare” in order to foster sympathy for him – even though he systematically tried to drive her mad before he tried to kill her, and did kill their children’s nanny, Sandra Rivett. Cherchez la femme. Cherchez la mom.

I know little about Bellfield’s relationship with his mother, but one of his exes spoke about him earlier this year. Jo Colling told how he had terrorised her while they were together, and stalked her after she left. “When I knew he was with another woman and not coming home it was a relief, but now I know what he was capable of, I feel guilty,” she said. “I did get an injunction against him, but it only made him even angrier.”

Colling fears that she could have prevented Bellfield’s murders by going to the police with her suspicions earlier; but since the police couldn’t even protect her, it is hard to see what difference this could have made, besides exposing herself further to Bellfield’s rage. Once there was a woman who was raped, beaten and stalked by the man she lived with. The end. This is a dull story too: Colling’s victimisation is only considered worth telling because the man who victimised her also killed Milly Dowler. Apparently the torture of a woman is only really notable when the man who does it has committed an even more newsworthy crime.

Throughout his engagements with the legal system, Bellfield seems to have contrived to inflate his own importance. Excruciatingly, he withheld his confession to murdering Milly until last year, leaving her family in an agony of unknowing – and then drew the process out even further by implicating an accomplice, who turned out to have nothing at all to do with the crime. He appears to have made the performance into another way to exercise control over women, insisting that he would only speak to female officers about what he did to Milly.

It is good that there are answers for the Dowler family; it is terrible that getting them let Bellfield play at one more round of coercions. And for the rest of us, what does this new information tell us that shouldn’t already be obvious? The story of men’s violence against girls and women is too routine to catch our attention most of the time. One woman killed by a man every 2.9 days in the UK. 88,106 sexual offences in a year.

Once there were some girls and women, who were tortured, stalked, kidnapped, raped, killed and maimed by a man. Dowler, McDonnell, Delagrange, Sheedy, Colling. More, if new investigations lead to new convictions, as police think likely. All those girls and women, all victims of Levi Bellfield, all victims of a common crime that will not end until we pull the pieces together, and realise that the torture, the stalking, the kidnaps, the rapes, the killing and the maiming – all of them are connected by the same vicious logic of gender. Then, and only then, will be able to tell a different story. Then we will have a beginning.

Sarah Ditum is a journalist who writes regularly for the Guardian, New Statesman and others. Her website is here.