The formation of a Peoples' Assembly and occupation of the city of Oaxaca (Mexico) in 2006 has been widely considered a rebirth of the Commune and was also one of the first widely video-recorded uprisings of the 21st century. As media practice, activist videos approximate an identity of creative art/work and socio-political change but also warrant consideration of their formal aspects. How do stylistic choices help or hinder reflecting on the not-quite-here-yet of prefigurative politics? In contrast with video art, graffiti, and performance protest, activist videos overwhelmingly adhere to evidentiary forms. Carefully edited, they invite viewers to view crowdsourced footage as indexical traces of what “really” occurred in front of the lens but draw little attention to contingency or to the artifice of cinema. Activist videos' politics of truth and reliance on interviews underscore lingering, more hierarchical visions of revolution and risk inscribing what is there to the detriment of equality and potentiality. Even so, some activist videos playfully invoke a future already arrived.

中文翻译：

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可见阈值。维权人士视频，好战分子和比喻政治

人民议会的成立和2006年对瓦哈卡州（墨西哥）的占领，被公认为公社的重生，并且是21世纪最早的录像带起义之一。在媒体实践中，激进主义者的视频近似于创意艺术/作品和社会政治变革的特征，但也需要考虑其形式方面。风格选择如何帮助或阻碍反思比喻还不成熟的政治？与录像艺术，涂鸦和表演抗议相反，激进主义者录像绝大多数采用证据形式。经过精心编辑，他们邀请观众观看众包镜头，作为镜头前“真正”发生情况的索引痕迹，但很少关注偶然性或电影的技巧。维权人士影片 真理政治和对采访的依赖强调了挥之不去，更加分层的革命观，以及冒着危害和平与潜力的风险。即便如此，一些激进主义者的视频也嬉戏地唤起了已经到来的未来。