in Precarious spectatorship
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Chapter 1 conducts an in-depth discussion of the ways in which Islamic State (IS) murder propaganda was produced and distributed in the UK, in the years 2014–2015. By focussing on the careful construction of personas by both Islamic State and the UK government, my aim is to demonstrate the ways in which emergencies may be packaged and deployed in order to inspire specific responses in targeted audiences. On the one hand, IS used their technological fluency to ventriloquise their victims in order to demonstrate absolute mastery and justification for their military incursions, inspiring potential converts around the world. On the other, the British press carefully packaged ‘Jihadi John’ as a monster, in order to stoke public anxiety about IS and draw support for military reprisals. In this chapter I begin a discussion of the image, and the ways in which the disconnect between the image and its subject may be exploited in order to produce affective responses within the spectator.

Precarious spectatorship

Theatre and image in an age of emergencies


All Time Past Year Past 30 Days
Abstract Views 27 27 0
Full Text Views 0 0 0
PDF Downloads 0 0 0