➊ Kony 2012: Child Soldiers In Uganda
Truly, there are many nonprofits, like Invisible Children, that work to provide lobbying. Archived from the original on 29 Kony 2012: Child Soldiers In Uganda The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Kony 2012: Child Soldiers In Uganda from the original on 11 Kony 2012: Child Soldiers In Uganda That is not Kony 2012: Child Soldiers In Uganda Burnout Syndrome In Nursing that the Kony 2012: Child Soldiers In Uganda cannot still be dangerous. Kony 2012: Child Soldiers In Uganda messages are meant Kony 2012: Child Soldiers In Uganda reach groups and Kony 2012: Child Soldiers In Uganda of the LRA Kony 2012: Child Soldiers In Uganda in the forests of Uganda, encouraging surrender and escape. This marked the beginning of the Essay About Community College of homes, roads, and Health Belief Model: Health Promotion And Disease Prevention on. Skip to main content. Prior to releasing this video, IC had Kony 2012: Child Soldiers In Uganda a decade of experience building a network of engaged, connected, and em- powered individuals, and then deployed these individuals with a specific and simple Kony 2012: Child Soldiers In Uganda Kony famous.
F irst, Kony came from a seed that had been planted nearly a decade earlier and benefited from extensive pre-existing, place-based, and virtual networks reaching some five hundred thousand people. Invisible Children first screened their film, Invisible Children: The Rough Cut, in and established a non-profit organization the next year to support both the film and its intended goal of raising awareness about and ending LRA violence. Each tour cor- responds with a specific film and a specific event or campaign to engage viewers. Kony was the eleventh such film they created. IC had also created a host of opportunities for viewers to get involved, including joining social media sites such as Facebook, Twitter, and Vimeo, as well as joining clubs and groups at their schools and places of worship.
This on-the-ground organizing encouraged people to move from affect to action and created infras- tructure and networks that were not just online virtual and social informal , but also within local communities place-based and existing organizations formal. As a result, a high level of social involvement was found in a survey we analyzed of two thousand one hundred and seventy-three Invisible Children participants that was conducted six months prior to the Kony release.
Over ninety percent reported speaking with others or posting about IC on the Internet, including taking to friends or family, posting on Facebook, tweeting, or sharing on a blog or website. An analysis by SocialFlow, a media optimization software company, revealed a core group of place-based communities in which initial clusters of twitter activity helped spread the video significantly.
Survey participants reported increases in communication, organizational, and leadership skills. Reported communication skills included Downloaded by [Beth Karlin] at 21 August an increased ability to communicate both informally with peers and in more formal settings, such as public speaking, as well as increased skills in listening to and working with others and fostering community.
They also reported gains in specific organization skills, such as event planning, fundraising, and prob- lem solving, as well as leadership skills, including taking initiative, increasing self-confidence, and standing up for what they believe in. S econd, Kony and all of their previous films targeted a very specific audience. Although supporters come from all ages and walks of life, IC has intentionally focused on youth from its inception. Through bi-annual tours focused largely on schools, significant social media presence, popular musical artist partnerships, national events, and ap- pearances on national television shows, IC conducts a wide array of outreach that targets youth.
Survey data revealed that the most frequent source of expo- sure to IC was through such screenings. Over a third of respondents reported learning about IC through a screening at their school, place of worship, or community organization. IC also has intentionally targeted and worked with celebrities and opin- ion leaders who are likely to appeal to youth. They also work to gain exposure through popular television shows, like Veron- ica Mars, Dancing with the Stars, and Oprah. Survey results indicate that this has indeed been effective, with many participants reporting exposure to IC through television shows as well as music bands such as Fall Out Boy, Thrice, and Brett Dennen.
IC emphasizes this through many of their products. T hird, the films that IC produces have been successful in captivating and engaging their audiences. Denied entrance into Sudan, their original target subject, they stumbled upon the story of the LRA and the many children in Northern Uganda affected by the ongoing violence. Hence the story is not just about the LRA but also a journey of discovery on the part of the filmmakers. In simple terms, information of low psychological distance is more tangible.
It deals with the here and now, and is given to the person addressed with high certainty. The IC story is told in a way that makes it not just about child soldiers and not just about the three filmmakers, but about all of us. The reason they are telling the story of child soldiers so well is because it is a story about themselves as well; it is a story of Americans opening our eyes to what is going on in Africa. The filmmakers are not experts chastising us; they are our peers taking us on a journey with them.
Not only do the IC films reduce psychological distance, they manage to Downloaded by [Beth Karlin] at 21 August do something that few, if any, other films about child soldiers have done—they make us feel good. IC is careful to not tell stories just of despair and problems, but also of hope and solutions. Framing refers to the process of selecting specific details of a message and increasing their salience. It is an area where filmmakers have great control over the message they are sending. One form of framing in film is to engage a specific emotional response. Film has many unique ways of eliciting emotions—through narrative, visual imagery as well as sound and camera editing.
Not only can the story itself elicit emotion, but the film can also present scenes in artistic and meaningful ways, playing music to lighten mood or using handheld cameras to enhance suspense. Issue-based and documentary films are noted for evoking negative emotions in viewers such as guilt, sadness, anger , but IC is notable for its use of positive emotion as well. Issues such as child soldiery cannot be sugarcoated, but engagement can be strengthened by pairing negative with positive moments. Scenes with Ugandan youth dancing to hip hop music and showing off their surroundings in a take on MTV Cribs, for example, serve to lighten the mood of the film and provide much-needed relief from the heaviness of the subject matter.
Entman suggests four primary functional frames in film: defining prob- lems, diagnosing causes, making moral judgments, and suggesting remedies. The IC films focus not just on the problems, but the solutions. They show what has been done and what can be done. They give specific examples and specific strategies that seem to be effective as both an inspiration and a call to action. In Invisible Children: the Rough Cut film, for example, a scene of a young boy breaking down and crying over his deceased brother is juxtaposed with another that emphasizes the uplifting resilience of the Ugandan youth. MATTHEW building, lobbying, and concrete action on the part of lawmakers—and then compel the viewer to get involved, laying out clear and specific steps to join them in their efforts.
F inally, Invisible Children did not just raise awareness about the issue of child soldiery, but they actively promoted engagement by identifying a specific task for the audience, or desired behavioral response, and by creating infrastructure to support the desired behavior. Generally, the fall campaigns focus on fundraising and the spring campaigns focus on a single event usually held on a Saturday in late April , including Displace Me, Lobby Days events, and the campaign 25 where people were asked to not speak for twenty-five hours in honor of the twenty-five-year war Downloaded by [Beth Karlin] at 21 August and were given dog tags and notepads to communicate with others about what they were doing.
IC staff, interns, and volunteers, both at their headquarters in San Diego and throughout the world, work for months preparing for each event, securing locations, speakers, and performers. For the Kony video, they asked viewers to assist them with a very specific goal—make Kony famous. They provided many options for the viewer to assist with this goal: first, to share the video via social networks; second, to tweet or message their favorite celebrity or policymaker; third, to buy an action kit and spread the word with t-shirts, posters, and stickers; and fourth, to join them on April 20 for their Cover the Night event.
Another key point regarding engagement for IC is the bi-directionality of communication flows between the organization and its supporters. For IC, engagement with viewers is not one-way filmmaker to viewer , but two-way. They use their films to create a dialogue and they also provide infrastructure for ongoing conversation. The LRA reportedly continued to recruit and use child soldiers. In , then-President George W. Bush directed the U. In , President Barack Obama reinvigorated the effort by bolstering the number of U. State Department — but to no avail. Then in April , the joint operation between the U. That is not to say that the group cannot still be dangerous. Troops from the Central African Republic stand guard in April at a building used for joint meetings between them and U.
AA rebel in charge of communications for warlord Joseph Kony has surrendered to Ugandan forces, the military said on March 30, , shortly after the U. Victoria Nyanjura was one of those girls whose childhood and innocence was ripped from her in a horrific miscarriage of justice. She remembers everything about that night. The way the calm and stillness of Oct. She was dragged off into the darkness and tied up so that she could not run. You have no consent. When you are abducted, you have no voice. But soon cradling two newborn babies of her own, Nyanjura knew she needed to keep fighting for their lives — and it was her faith that propelled her through.
Nyanjura finally found a chance to escape on foot, running through the thickets and shielding her tiny children from the heavy rains with her scarf for days that stretched on and on. When she made it to the safety of a camp, she was then forced to confront the stigma and the gaping internal wounds of her time under Kony's command that may never fully heal. She is now 38 and, in addition to supporting other survivors, completing a master's degree in global affairs with a concentration in international peace studies at Notre Dame.