Reviewed by: Seeing Human Rights: Video Activism as a Proxy Profession by Sandra Ristovska Isabella Waltz (bio) Sandra Ristovska, Seeing Human Rights: Video Activism as a Proxy Profession ( MIT Press, 2021) ISBN 9780262542531, 271 pages. The modern world is shaped by rapid technological developments that are challenging long-formed institutional environments. As smartphones and social media platforms have grown, video has become a pervasive aspect of everyday communication. The rise of video-sharing platforms such as YouTube and TikTok, and new video-based features on Facebook and Instagram, has paralleled a myriad of global crises. Eyewitnesses are now able to capture and share human rights abuses like never before, allowing global audiences to bear witness to harsh realities of police brutality in the United States, state-sponsored violence in [End Page 650] Syria and Myanmar, escalating violence between Israel and Palestine, and many other conflicts previously left largely visually undocumented. In Seeing Human Rights: Video Activism as a Proxy Profession, Sandra Ristovska refers to over seven years of qualitative research to analyze how evolving institutions and human rights video activist tactics inform and contradict one another. The book hones in on journalistic, legal, and political institutions specifically, outlining their logocentric histories that tend to view images only as a complement to words and how this complicates the inevitable integration of video in institutional contexts today. Ristovska's central argument asserts that video activism functions as a proxy profession that often plays a mediating role, brokering arrangements between eyewitnesses, activists, and institutions. Modern video activism is forced to rely on strategies and tactics inherent within neoliberal power structures to legitimize itself in these institutions. While reliance on these strategies and tactics allows video to be used in a meaningful way where it has traditionally been overlooked, video activists within the proxy profession must also face pressing ethical questions that challenge the spirit of human rights work. Seeing Human Rights is separated into six chapters, with three providing detailed insight into the function of video in journalistic, legal, and political institutions. These chapters provide a succinct history of the ways these institutions have both relied on and undervalued images, beginning with still photography and emerging into weak attempts to effectively integrate video. While institutions have "sidelined images in different ways and for different purposes," human rights collectives such as Amnesty International, Human Rights Watch (HRW), and WITNESS have more successfully incorporated video into their work, establishing it as a crucial tool in humanitarian advocacy.1 The journalistic, judicial, and political advocacy domains have turned to video out of necessity, leading them to rely on expertise developed in the realm of visual activism. Human rights collectives then have had "to be connected to professional power and authority" to exist in an institutional context while still "embracing the values long associated with video activism."2 According to Ristovska, human rights collectives are in a position to address some of the journalism industry's ongoing struggles due to their publicly perceived trustworthiness and early investment in open-source research techniques. Although outlets such as the New York Times have established visual investigation teams, most journalists rarely receive significant training in open-source research, which human rights collectives have relied on for years. Ristovska argues that "human rights collectives became codified as public experts on eyewitness imagery because of journalism's failure to face the challenge," suggesting that journalism's logocentric ethos is not a thing of the past.3 The book frames journalists' current resistance to modern technology as reminiscent of past hesitancies regarding the introduction of photography, television, and citizen journalism. Because of journalism's perceived failure and logistical concerns in places [End Page 651] like Syria and Myanmar, where reporters may be denied access, human rights collectives now serve a brokering role within the proxy profession, mediating between eyewitness-content producers and journalists. The book attributes a similar historic resistance to constructively incorporating photography in the judicial realm to the conservative, innovation-avoidant nature of the law, as well as traditional judicial authority's reliance on the authority of words.4 Ristovska outlines three key affordances of video that amplify its impact in legal contexts: its ability to serve as a documentary, persuasive...