This article explores how the cultural symbol of the Joker, from the 2019 American movie Joker, first unfolded during the 2019 Iraqi Tishreen [October] Revolution as radical-gradual creative imagery both shocking and contested among Iraqi activists. Considering the visuals as modes, I argue that they first emerged as antenarrative, open to multiple interpretations. The antenarrative quickly transformed into a derogatory label perpetuating a dehumanizing anti-protest narrative by dominant powers and their militias. ‘Axis of Resistance’ media channels in Iraq and Iran have transformed the Joker label into a weapon, framing the protest movement as a narrative of grand conspiracy with the West and consequently justifying the violent crackdown by security forces. Iraqi activists then reclaimed the label in an attempt to defy that narrative. The linguistic reclamation could not erase the parties’ narrative. Instead, the two narratives have continued to compete, triggering another set of polarized labels.
This paper examines personal narratives and how they change according to the context in which they are narrated. In particular, it argues that personal narratives change as they are mediated by various discourses, genres and modes, as well as by the peculiarities that emerge when speaking and writing in different languages and when undertaking translation. It uses a case-study approach to analyse the different narratives told by Islamic State’s Yezidi female survivor, and United Nations Goodwill ambassador, Nadia Murad, in different contexts in 2014 and in 2015. In 2014, when two Western mass media outlets interviewed Murad, her narrative was compacted and less detailed. This shifted in December 2015 when Murad testified about her ordeal before the Security Council. Mediated by the discourse of the latter and by the genre of testimony, Murad’s narrative became more detailed, and transformed from a description of a personal suffering into a call for action.
This paper is motivated by the following question: how can animated satire constitute a tool of resistance against terrorist groups and their extremist narratives? To answer this question, I examine an Iraqi animated satirical show produced from late 2015 to 2017 to support the military campaign against Islamic State (IS) by turning the self‐proclaimed caliph and other IS terrorists into objects of derision, detached from Iraq and Islam. Engaging with critical approaches to satire and counter/alternative narratives, I argue that the case under analysis has possibilities and limitations. On the one hand, the show attempted to alienate IS from Iraqis and Muslims and unite them in one front in the fight against the group by highlighting the Iraqi identity and exposing contradictions in its narratives. On the other hand, it reinforced problematic conspiracy theory discourses about IS's origin, as well as racial and gender stereotypes, ironically producing another set of contradictions.
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