This study explores the representations of female captives and survivors of Boko Haram in what the authors define as a transmedia project formed by an ensemble of interconnected multi-modal/media productions circulated through off- and online spaces, and merging photojournalism and humanitarian markets. The authors draw on semiotic analytical tools in unravelling the process of meaning-making and point to a trend of spectacle renewal in which recycled textual and visual elements function as forms of (self) promotion within the transmedia project. In its response to neoliberal logics of production and circulation of culture, this transmedia project ends up reproducing reductionist portrayals of Boko Horam (ex-)captives and empowering Western producers and consumers through representations that fortify a gendered, neocolonial relationship. This research problematizes the moralistic narratives that support this transmedia economy and proposes alternative modes of sharing and consuming photojournalism stories in order to encourage more critical engagement.

这项研究探讨了博科圣地的女性俘虏和幸存者的代表性，作者将其定义为跨媒体项目，该跨媒体项目是由通过离线和在线空间流通的相互关联的多模式/媒体产品的集合构成的，并将新闻摄影和人道主义市场融合在一起。作者利用符号学分析工具阐明了意义的形成过程，并指出了眼镜更新的趋势其中，回收的文本和视觉元素在跨媒体项目中作为（自我）促销形式发挥作用。在对新自由主义生产和文化流通逻辑的回应中，这个跨媒体项目最终再现了博科·霍拉姆（前）俘虏的还原主义写照，并通过强化性别新殖民主义的表现形式赋予西方生产者和消费者权力。这项研究对支持这种跨媒体经济的道德叙事提出了问题，并提出了共享和消费新闻摄影故事的替代方式，以鼓励更多的批判性参与。