Abstract

This essay analyses the recent focus on Russian human rights violations in Anglophone media, scrutinising the ideological agenda of the visual politics which strategically foreground victimised bodies of Russian dissidents. Notwithstanding the importance of a critique on human rights violations, the article points to the unwanted but very real side effects the current mediatisations of violence have, from structural victimisation and the creation of ‘gay martyrs’ to the resignification of the West as progressive and ‘gay’ and Russia as backward and heterosexual. A close reading of popular press photographs of wounded Russian gay youth and the textual context – arguably representative for the Western media focus on the ‘Eastern’ violation of human rights between 2012 and 2014 – serves to illustrate how an image of Russian nation and Russian state politics is forged within Anglophone media discourses meant to reinforce the positive identity of the self-same by evoking pity, empathy and a responsible helpful attitude toward the endangered othered. The essay argues that Anglophone media’s focus on the vulnerability of Russian LGBTIQ+ bodies, consciously or unconsciously, reduces the subjects to this vulnerability, confirming feelings of moral superiority within the enlightened audience. The study highlights the important role that Russia’s vulnerable citizens play not only in the construction of values such as ‘tolerance’ and ‘acceptance’ and evaluations like ‘progressive’ and ‘modern’, but also in perceptions of the nation and its people and the reaffirmation of the dualistic divide between ‘The East’ and ‘The West’.

Highlights

  • This article investigates the recent discourses on Russian LGBTIQ+1 issues in Anglophone media

  • This essay analyses the recent focus on Russian human rights violations in Anglophone media, scrutinising the ideological agenda of the visual politics which strategically foreground victimised bodies of Russian dissidents

  • A close reading of popular press photographs of wounded Russian gay youth and the textual context – arguably representative for the Western media focus on the ‘Eastern’ violation of human rights between 2012 and 2014 – serves to illustrate how an image of Russian nation and Russian state politics is forged within Anglophone media discourses meant to reinforce the positive identity of the self-same by evoking pity, empathy and a responsible helpful attitude toward the endangered othered

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Summary

Introduction

The ‘ableist gaze’ (Razack, 1998: 132) reduces persons with a visible vulnerability to‘icons of pity’(132), as Razack has pointed out She uses the term in reference to disabled women, I argue that Fedorov and Chizhevsky are produced as icons of pity through the ableist and heteronormative North/Western gaze of Anglophone media. Their status as sacred figureheads of modernity and modern values is established and it is no longer relevant what the political issues had been before – that the activist Fedorov was beaten by right-wing activists – nor is it important in which specific context Chizhevsky was shot The reason these subjects are vulnerable, according to the media, is rather the wrongness and backwardness of the Russian state, because ‘[u]nder President Vladimir Putin, Russia has been sliding back toward the Middle Ages’ (Nemtsova, 2015). On the intersection of the visual wound, the textual information about human rights abuses and the already existing knowledge about Russia’s civilisation status emerge the feelings of belonging to the West, to a Western nation, and of solidarity and pity, and a commitment to progress, tolerance and human rights

Conclusion
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