在20世纪40年代，它是16毫米胶片。在20世纪80年代，是手持摄像机。如今，它是手机和社交媒体。活动人士总能找到办法利用当前的媒体进行快速、广泛的传播。
前线的反叛媒体关注21世纪的激进媒体实践，揭示了利用过去和现在的不同媒体进行变革的意义。克里斯·罗贝（Chris Robé）和斯蒂芬·夏博诺（Stephen Charbonneau）的编辑集使用了“反叛媒体”一词来强调草根媒体活动人士挑战和挑战殖民主义、父权制、帝国主义、古典主义和异端规范等霸权规范的方式。此外，这个词还用来表达媒体激进主义的紧迫感。与较慢的传统媒体不同，维权媒体在历史上为了即时性而牺牲了美学。因此，这种“跑腿抢枪”的内容捕捉方法在历史上塑造了维权媒体的形象。
在美国历史上，有关土著抵抗运动、社区媒体以及将媒体用作激进主义的章节中，来自前线的反叛媒体强调了媒体激进主义随着时间的推移所产生的广泛影响。当涉及到媒体激进主义时，能见度是不够的，撰稿人提供了一些例子，说明了如何重新关注这个领域，不仅要成为一名激进主义者，还要学习激进主义。
InsUrgent Media from the Front: A Media Activism Reader
In the 1940s, it was 16 mm film. In the 1980s, it was handheld video cameras. Today, it is cell phones and social media. Activists have always found ways to use the media du jour for quick and widespread distribution.
InsUrgent Media from the Front takes a look at activist media practices in the 21st century and sheds light on what it means to enact change using different media of the past and present. Chris Robé and Stephen Charbonneau’s edited collection uses the term “insUrgent media” to highlight the ways grassroots media activists challenged and are challenging hegemonic norms like colonialism, patriarchy, imperialism, classism, and heteronormativity. Additionally, the term is used to convey the sense of urgency that defines media activism. Unlike slower traditional media, activist media has historically sacrificed aesthetics for immediacy. Consequently, this “run and gun” method of capturing content has shaped the way activist media looks throughout history.
With chapters focused on indigenous resistance, community media, and the use of media as activism throughout US history, InsUrgent Media from the Front emphasizes the wide reach media activism has had over time. Visibility is not enough when it comes to media activism, and the contributors provide examples of how to refocus the field not only to be an activist but to study activism as well.
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