User-generated content broadcast across social-media channels has “permeated the collective consciousness,” chaykak writes, “providing some of the earliest and most direct glimpses of the Russian invasion.”
from photography to television. The Spanish Civil War marked the emergence of the professionalized photojournalist, equipped with a Leica 35-mm. film camera to capture the conflict on the ground. The Vietnam War was the first war to be televised, and it made the carnage in conflict zones “a routine ingredient of the ceaseless flow of domestic, small-screen entertainment,” Sontag wrote.
For Sontag, photographs had a “deeper bite” than video when it came to documenting war. A single image taken on the ground could endure for generations, like Robert Capa’s Spanish Civil War photograph “The Falling Soldier.” Social-media documentation is less likely to last—it’s ephemeral by design—but for the consumer it can create a more immediate, immersive experience of a situation unfolding in the moment. A woman gives birth while sheltering in a Kyiv metro station.
Zelensky himself has made shrewd use of this sense of relatability, captivating the world with his shaky selfie videos recorded from the street. He used this format to combat rumors that he had fled the country, casting himself as an everyman braving a vast struggle, David versus Goliath. In a video posted on February 25th, he stood in front of a clutch of his government officials. “We are all here,” he said.
There are obvious downsides to receiving updates from a chaotic war through scattershot bits of digital media. On the Internet, all content follows similar laws of motion, whether it’s showing a land invasion in Europe or a cat doing something funny. Whatever is engaging becomes more popular, regardless of its provenance or quality. TikTok’s algorithmic feed in particular makes it easy to passively consume one video and move on to the next without questioning the content’s sourcing.
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