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Based on the theoretical framework of propaganda analysis and visual rhetoric, this
study examines 1,004 images published in 11 issues of ISIS English online magazine, Dabiq.
Given the growing appeal of ISIS among Westerners, this study content analyzes the images for Commented [1]: Not an active process by Westerns..
rewrite
propaganda frames and themes in Dabiq. Analysis shows that ISIS uses propaganda techniques
of appeal to fear and name calling/labelling to influence its followers. Themes of violence/threat
and portrayal of the enemy were most prominent in the images of Dabiq. Commented [2]: Symbolization, indepth; qualitative
part
Keywords: Terrorism, Islamic State, Dabiq, propaganda, visual rhetoric.
1
Introduction
More than 30,000 foreigners have traveled to Syria to fight for the Islamic State of Iraq
and Syria or ISIS since 2011 (Norton-Taylor, 2015; Schmitt & Sengupta, 2015). This number
has doubled since the terror group declared itself as a caliphate—an authoritative body or Islamic
state ruling Muslims all over the world with its leader Abu Bakr al-Baghdadi as the caliph
(successor) of Prophet Mohammed—in June 2014 (Crawford & Koran, 2015; Windrem, 2015). Commented [3]: Recent figures
Commented [4]: _Marked as resolved_
Scholars Byman and Shapiro (2014) state as the conflict in Syria advances, the flow of Western Commented [5]: _Re-opened_
recruits will continue to rise. This increasing attraction among Westerners towards ISIS (also
called as Daesh) reflects on the need for scholarly attention towards the promotional strategies of
the terrorist group in communicating its ideology. This study examines imagery in the ISIS
magazine titled Dabiq to investigate the propaganda techniques that the group adheres to.
Further, we study the symbolization in these visuals to support the propaganda analysis.
Like its parent group Al-Qaeda, ISIS has runs a media center called to produce
especially through its effective use of new media tools (Sherwin, 2014XXXX). Scholars argue
that Western leadership has been incompetent to devise combat strategies to match the appeal of
ISIS propaganda forwarded through films, short videos, tweets, documentaries, reports and
images (Cottee, 2015; Fernandez, 2015; Miller & Higham, 2015; Sherwin, 2014). According to
Winter (2015), ISIS conveys a narrative through its photographs that are produced in a
professional manner and go through a post-production process so that they are branded and
2
enhanced with filters to maximize their effect. As part of its larger digital media strategy, ISIS
Based on the framework of propaganda analysis and visual rhetoric, the study aims to
understand the propaganda strategies, themes and symbolizations that are projected in the visuals
a large group of people in order to manipulate their attitudes and behavior (Matusitz, 2013). Such
propaganda communicated through visuals is effective because images engage the audience
(Belicove, 2011; HubSpot, 2011), are an evidence of reality, and are easy means to communicate
meaning across different cultures (Li, 2013), and can change public opinion and government
policies (Mielczarek & Perlmutter, 2014), such as in the messages that ISIS directs to
Westerners. On the other hand, visual rhetoric aids in understanding the meaning communicated
through images.
it disseminates through the internet, especially through social media to communicate its
jihadist ideology.
3
Moreover, ISIS propaganda machinery has demonstrated high production quality
. Though the attraction of foreign recruiters towards the terrorist group cannot be seen as
a direct result of ISIS’ propaganda, it does correlate with the growth in the production of visual
propaganda tools the ISIS uses to reach foreigners. According to Leone (2015), a study of ISIS
propaganda, communicated through various media including images, is necessary to understand Commented [6]: Need a stronger argument
why Westerners are attracted to the terrorist group and also to create counter propaganda
strategies.
ISIS’ ideology.
Thus, the study of visuals in Dabiq, though only a small part of ISIS propaganda
campaign, is an exploratory enquiry into the recruitment strategies and message construction of
4
Theoretical framework
those audiences who are not driven by a cause (Matusitz, 2013). In propagating such an Commented [7]: @enakshi: Can you cite some
prominent propaganda theorists?
ideology, the propagandist produces a believable and compelling narrative (Payne, 2009).
elements that the target audience can identify with (Matusitz, 2013). According to Tugwell
(1986), propaganda and terrorism are identical in their purpose because both seek to benefit
through the manipulation of their target audience. Terrorist propaganda, such as that of ISIS
(Winter, 2015) seeks to create fear and uncertainty about the enemy (Tugwell, 1986; Wilkinson,
1997).
In their study, Baines and O’Shaughnessy (2014) used semiotic, content and propaganda
analysis to compare video messages of Al Qaeda produced between 1998 and 2008. The study
found that in the pre-9/11 messages, bin Laden appealed to his audience to call jihad against
America whereas the post-9/11 messages made limited use of propaganda frames such as
constant repetition, prejudice, the ‘big lie’ intentional vagueness, labelling and character
assassination (Baines & O’Shaughnessy, 2014). Likewise, Payne (2009) concluded that in its
propaganda narrative, Al Qaeda mainly appealed to authority (Islam and Allah) to communicate
with its members. The article identified themes such as: “They are Attacking Us” (Westerners,
5
particularly Americas, and Muslim leaders interfered with the creation of an idealized Islamic
state; ‘jihad is the only just response’ (call to arms as part of the actionable propaganda),
For instance, in a study conducted in 2006, The Combating Terrorism Center at West
Point found that imagery was the main tool of communication for terrorist groups. Such imagery
targeted religious and cultural experiences of the audiences (Islamic Imagery Project, 2006).
Ciovacco, (2009) identified seven propaganda themes that were reinforced in nearly all their
media releases and found that these releases portrayed themes of call to jihad, clash of
civilizations, United States–Israel connection, Muslim unity, weakening of the United States,
apostate Muslim leaders are betraying Islam and United States is stealing Muslim oil.
In modern history, visual images, are often regarded as reliable evidence of reality, and they
occupy an important part of collective the memory. Perlmutter (1998) stated that words or
images used to depict an event are selected facets of the issue in framing choice by describing
images that the media conveyed were “the most potentially powerful visual framing device”
Studies on war images show that as a result of the media framing, science-fiction-like
images can disparage very serious conflicts and hinder the public’s ability to face “the reality of
the cost of the war” (Moriarty & Show, 1995, p.7). A systematic analysis of visual depictions of
the first Gulf War to investigate the visual images presented in three U.S. news magazines—
Newsweek, Time, and U.S. News & World Report (Griffin & Lee, 1995; Moriarty & Show, 1995)
6
demonstrated that a narrowly tailored aspect of the war such as military technology prevailed in
the pictorial coverage, whereas the brutal aspects of the war such as actual combat activity
including casualties were very limited (Griffin & Lee, 1995; Moriarty & Show, 1995).
More recently, a study examining the visual coverage of the September 11th terrorist
attacks and the subsequent conflict in Afghanistan showed how English and Arabic-language
newspapers framed the same conflict in different ways (Fahmy, 2005). The International Herald
Tribune published visual images that could be interpreted as more favorable to the United States
than did the Al-Hayat newspaper, even though both papers used the same sources provided by
wire news agencies for their visual coverage. The Tribune included more images of victims of
the terrorist attack and published fewer images of Afghan casualties compared with its Arabic-
language counterpart.
The Islamic Imagery Project, undertaken by the Combating Terrorism Center at West
Point, in 2006, is a study of on jihadi imagery. The jihadist organizations have had a brief but
prolific history in the production and distribution of visual propaganda, and have arguably
created their own distinct genre of Internet-based Islamic imagery (Islamic Imagery Report,
2006). The report identified 100 motifs and recurring themes within a discrete sample of radical
Islamic imagery that the center obtained over the course of several years.
The images help the author, or propagandist, communicate a message, which is often a
visual argument for something or against something. Texts and language, including imagery,
provide interactive ways for jihadis to engage the ideology itself. The notion of resonance, the
7
outcome of this dialectical process. The new motifs gain legitimacy when used in proximity to
widely accepted symbols and cultural references. Commented [8]: Needs citation
Visuals change public opinion and bring about policy changes (Mielczarek & Perlmutter,
2014). Visual propaganda promotes an agenda through films, photographs, and the fine arts
(Goldstein, 2009). For instance, during World War II, the U.S. Office of War Information
utilized photography, films, and other visual material to shape public opinion. Likewise, the
Nazis produced photographs, films, posters, and art to promote Nazi ideologies while banning
films and art that did not conform to their ideology. Studies have shown that visual content Commented [9]: Citation
generates the most engagements in social media spheres (Belicove, 2011; HubSpot, 2011).
Visuals are immediate and easy to digest and thus popular in this age of fast- paced information
consumption (Li, 2013). In addition, visuals are more important when messages need to be
communicated across different cultures and countries. However, some studies have shown that
visuals do not change behavior and attitudes because audiences find them distracting Commented [10]: why? more details
(Edwardson, Grooms & Pringle, 1976; Mundorf, Drew, Zillmann, & Weaver, 1990).
When analyzing terror propaganda, Dauber and Winkler (2014) found that visual imagery
helps to avoid drawing incomplete or misleading conclusions about the messages embedded in
extremist online media campaigns. Jordan, Torres, Horsburgh (2005) argued that through
visuals, terrorists use emotions to change the attitudes of their audiences. According to Shane
and Hubberd (2014), jihadist propaganda has evolved from al Qaeda leader Osama bin Laden
addressing a single static frame conveying a long-winded rhetoric in formal Arabic to online
8
jihad 3.0 of the Islamic State. ISIS primarily uses media platforms such as Twitter, Instagram
and Whats App to reach its target audience; services such as JustPaste are used to publish battle
summaries and SoundCloud to release audio reports. It had also developed Dawn of Glad
Tidings, an app to deliver information through smartphones (Shane & Hubberd, 2014).
Studies that have examined propaganda of ISIS are recent and limited. According to a
Homeland Security Report (2015), ISIS documented and publicized every execution it carried
out to serve as a reminder of its self-proclaimed supremacy, its ability to exact revenge,
intimidate enemies, warn locals of the punishment associated with dissent, provoke outrage from
the international media and cause knee-jerk responses from hostile policymakers. Additionally,
themes such as mercy and brutality (connected to the idea of repentance, before god and the
Islamic State organization itself), victimhood (aftermath of coalition airstrikes showing images
of dead or dying children), war (ISIS as a real ‘state’ with a real army, training camps, parades,
artillery guns, tanks), belonging (new recruits) emerged through its propaganda (Homeland
Security Report, 2015). Similarly, Winter (2015) analyzed 1,700 propaganda material produced
between June 2014 and June 2015 and found themes such as brutality, mercy, victimhood, war,
belonging and utopianism that aimed to promote the ISIS brand, create fear among its enemies
and attract potential recruits. In an article, Sherwin (2014) compared propaganda images of Al
Qaeda and ISIS and concluded that ISIS used violent images, such as of beheadings of American
and British journalists and aid workers that aimed to create fear among Westerners.
9
Like Inspire, the online magazine of Al Qaeda, Dabiq is a high-quality magazine
published every month in many European languages, including English. Dabiq was available for
sale on Amazon and was described as, “a periodical magazine focusing on issues of tawhid
(unity), manhaj (truth-seeking), hijrah (migration), jihad (holy war), and jama'ah (community)”.
The author of the publication was listed as al-Hayat Media Centre, (Islamic State Magazine,
2015). Dabiq is an extremely visual magazine with an average of about 100 images per issue.
outreach to the Islamic State’s potential fighters and future residents, as well as to its enemies.
Dabiq’s content is in English, suggesting that it is specifically published as a recruitment tool for
In its first issue, ISIS stated that Dabiq was started as a response to its publications,
Islamic State News and Islamic State Report. As per the first issue, Dabiq has “photo reports,
current events, and informative articles on matters related to the Islamic State”. This 65-70 page
magazine also has in-depth reports called “Insight into the Islamic State” that detail ISIS strategy
and updates on its “successes.” Moreover, the first issue also states that the magazine was named
as Dabiq after a small town in northern Aleppo, Syria. It reasons that according to “hadith about
the events of the Malahim (what is sometimes referred to as Armageddon in English), one of the
greatest battles between the Muslims and the crusaders (West) will take place near Dabiq”.
According to Gambhir (2014), the location also has parallel historical significance as the
site of a decisive battle in 1516 between the Ottomans and the Mamluks, which led to Ottoman
victory and the consolidation of the last recognized Islamic Caliphate. By naming the magazine
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Dabiq, ISIS wants to be seen as the jihadist group that will lead the Muslim community into
Scholarly research indicates that Dabiq has greater efficacy on its audience than
magazines that are published by other terrorist groups. Skillicorn (2015), developed a new
semantic model to capture propaganda effectiveness through an examination of the issues of the
Inspire, Azan and Dabiq, magazines that are published by Al Qaeda, Taliban and ISIS
deceptive, jihadist and gamification and concluded that Inspire was less disciplined than Azan
and Dabiq. Additionally, Dabiq was the most dangerous because its issues scored highest on the
propaganda model, and had the lowest levels of deception, and portrayed high levels of sincerity.
Seib and Janbek (2011) argued that instead of publishing press releases or sending video
tapes to other outlets, ISIS established a direct communication channel through the availability of
online magazines such as Dabiq. As the youth are more attuned to a visual-form of
communication spreading their propaganda and recruitment messages through the magazine is a
strategy that the group has employed. Therefore, understanding how these images work, what
ideas they convey, why they are employed, and what responses they may elicit, is vital to our
struggle against the influence of jihadi organizations and the violence they create. Studying the
images of Dabiq to analyze the key frames of ISIS propaganda is important as it can help us
Research questions
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RQ1. What are the prominent themes in the visuals published the Islamic State’s online
magazine Dabiq?
RQ2. What are the prominent propaganda frames in the visuals published in Dabiq?
Method
and themes. Visuals published in the first 11 issues of Dabiq were considered. Dabiq is a
monthly magazine and the first issue was released on July 5, 2014 while the 11th was released on
August 9, 2015. Imagery published only till the 11th issue was considered because it was the last
issue that was released when the study was undertaken. Digital copies of the first 11 issues were
accessed from the website of The Clarion Project, a non-profit group that fights against Islamic
extremism (clarionproject.org, 2013). Additionally, the issues were compared with copies
Each unit of analysis was an image that included logos, photographs and maps. If the
images were republished, they were counted only once. One of the authors numbered all the
images in the 11 issues without counting the republished images to ensure all images were coded
only once. Images the appeared in the magazines, such as cover photos, images superimposed
with text, images in the inset were considered. Photo collages were broken down into
independent images and each image was counted as a single unit. A total of 1,004 images were
Coding scheme
12
Previous studies (Baines & Shaughnessy, 2014) that examined terrorist propaganda
helped in defining categories for propaganda frames and analyzing symbolizations (Islamic
Bandwagon: This type of propaganda technique makes use of ‘inevitable victory’ appeals
to persuade target audience. This category included images of ISIS members showing unity,
holding hands, flags, standing next to dead bodies of the enemy as a symbol of triumph.
installation of anxieties and/or panic: Images of beheading, slaughter, ISIS members pointing
guns at the enemy (not the dead body), weapons, tanks were included.
Appeal to prejudice: This technique consists of using loaded or emotive terms to attach
value or moral goodness to believing the proposition: Images showing children reading religions
Euphoric appeals: This technique is defined as an attempt to demonstrate how being part
of the group generates euphoria and a sense of oneness: Images of ISIS members eating together,
falsity: Picturesque imagery, scenic beauty, rising sun, birds flying were included in this
category.
idea, argument or course of action. The use of quotations to support of rejecting a given policy,
13
result. Selective editing of quotes which can change original meanings. Photos of religious
places (Mecca, Medina), prominent ISIS leaders, other prominent jihadi leaders (eg. Bin Laden)
were included.
opinion about a group or set of beliefs or ideas so that the audience fears, hates, loathes, or finds
the enemy undesirable. ISIS publishes photos of Western and Arab political leaders and terms
them as enemies. The context (text) highlights the “bad things” that the West or America is
doing.
For drawing themes, we used inductive analysis approach and independently coded all
possible themes that emerged. The common themes that emerged after the initial open coding
were retained. The other themes were redefined and coded as new categories or added to the
existing categories. The following table provides the identified themes and their definitions:
Themes Definition
Violence and threats Images of beheaded bodies, soldiers standing
next to dead bodies, weapons, tanks;
destructions of buildings and other structures
Triumph/victories Images showing ISIS members holding
hands, raising flags,
Religion Images of religious texts, Koran, religious
places (Mecca, Medina, mosques), praying,
Civic issues Picturesque imagery that includes scenic
beauty, rising sun, birds flying, sunsets; ISIS
members eating together, chatting, clicking
photographs, having a good time, local
money, administration.
New recruits/ISIS members Single mug shots of ISIS members, leaders or
new recruits (not engaged in any activity)
14
Enemy: Western leaders and Arab leaders Leaders of Western or Arab countries, their
government officials termed as enemies
(photo captions indicate whether these leaders
are considered enemies)
Allies: Leaders of Muslim countries as allies Leaders of Muslim countries, their
or neutral relationship with nations government officials termed as friends (photo
captions indicate whether these leaders are
considered enemies)
The reliability of the coding scheme employed for analysis was tested through one author
and one independent coder, who was trained with detailed information about each category, and
the definitions of the variables Each of the coders complete a sample of 102 identical images
randomly selected from the dataset to determine inter-coder reliability. This sample comprised
10% sample of the dataset. The average intercoder reliability coefficient for frames and themes
was: Scott’s pi = .92 and .90 respectively. The two authors coded rest of the images.
Results
The 11 issues that were analyzed had a total of 646 pages and on an average each issue
consisted of 59 pages (M= 58.72; SD = 18.69). A total of 1,004 images were published in these
Prominent themes
RQ1 examined prominent themes in the images published in Dabiq. Analysis of 1,004
images showed that the theme of ‘Violence and Threat’ (37.1%) was the most prominent,
followed by the theme of ‘Enemy: Western leaders and Arab leaders’ (20.3%). This was
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members’ (10.6%), ‘Religion’ (5.5%) and ‘Allies’ (3.3%) as the prominent themes in the images
published in Dabiq.
Themes N Percentage
Propaganda frames
propaganda frames in the images published in Dabiq. Analysis showed that frame of appeal to
fear (38.5%) was the most prominent in the images published in Dabiq. However, other
propaganda frames of name calling/ labelling/ stereotyping (20.2%) bandwagon (12.5%) and
euphoric appeal (11.3%) were less predominant as compared to the ‘appeal to fear’ strategy.
Table 2 shows propaganda frames that were prominent in the images published in Dabiq.
Implications and interpretation of these findings are discussed in the following sections.
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Table 2: Propaganda frames in Dabiq
Discussion
imagery published in the ISIS magazine, Dabiq. The aim was to understand the propaganda
techniques of the terrorist group. The images published in Dabiq were high quality and photo-
Figure 1: Execution of Shuaytat prisoners published in the third issue of Dabiq, an example of violence
and threat theme.
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Violence and threat emerged as the most prominent theme in the images published in Dabiq.
Images, which mainly consisted of photographs, showed dead bodies of non-believers, PKK
(Kurdish) soldiers and other members of the enemy tribes, beheadings of captured Western
soldiers and journalists, weapons such as rifles, rocket launchers, ISIS members in action on the
battlefield equipped with weapons, and destruction of buildings, temples and churches. These
images appeared in special sections in all the 11 issues that report on the latest attacks that ISIS
has carried out. The sections praised the act of ISIS members portraying them as true followers
and believers of Allah and frames them as soldiers of the Khilāfah. For instance, images of
injured and the dead during strikes carried out in Yemen and Tunisia described ISIS soldiers as
“men whose allegiance lies, not with a false citizenship, but with Allah, His Messenger, and the
believers”.
(Westerners) of meeting the same fate as the dead. For instance, in the third issue, the photo of
the execution of Shuaytat prisoners (see figure 1) is accompanied by a justification for the killing
with a quote by Abu Musab al-Zarqawi that “any tribe or party or assembly whose involvement
and collaboration with the crusaders and their apostate agents are confirmed, then by He who
sent Muhammad with the truth, we will target them just as we target the crusaders, and we will
eradicate and distinguish them, for there are only two camps: the camp of truth and its followers,
and the camp of falsehood and its factions. So choose to be from one of the two camps.”
At times, photographs had a ‘before and after’ sequence that emphasized the fate of the
enemies. For instance, in the fourth issue, the image of the beheading of journalist Steven Joel
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Sotloff (see figure 2) was followed by a warning in the form of a letter written from Sotloff to
the US government to stop attacking civilians in Syria. The end of the letter was followed by a
beheaded shot of Sotloff with the caption, “Sotloff was executed in retaliation for the numerous
Muslims killed in Iraq by the US. American airstrikes similarly killed the Muslim families on
“September 15th” after Sotloff’s death”. Hence, such images reflect on the strategy of ISIS to
spread fear among Westerners. As a result, the images used the propaganda technique of appeal
Figure 2: The beheading of Steven Joel published in the third issue of Dabiq. An example of violence
and threat theme.
The theme ‘Enemy: Western and Arab leaders’ was the second most prominent theme
portrayed in the images. Under the section ‘In the words of the enemy’, which is a regular
section in all the issues of Dabiq, ISIS published news about policies and decisions taken by
Western leaders, who are accompanied by photographs of Western and Arab leaders.
19
These leaders were current and former head of states such as US President Obama and
former President George Bush, the Russian President Vladimir Putin, the UK Prime Minister
David Cameroon. Additionally, images of Arab leaders such as King of Saudi Arabia, Salman Al
Saud and ministers in his regime, leader of Iran Ali Khamenei and President of Syria Bashar al-
Figure 3: This image of Obama with Mohammed bin Salman Al Saud, son of the King of Saudi Arabia
and also the minister of defense, published in the fifth issue of Dabiq is an example of the theme,
‘Enemy: Western and Arab leaders’.
In publishing photographs of Western and Arab leaders, ISIS defines its enemies for its
followers. Western leaders are labelled as ‘crusaders’ whereas Arab or other Muslim leaders,
who are allies with the West are labelled as ‘kafirs’ or non-believers. It also terms the tribes
fighting against it as ‘taghuts’ or those who do not rule as per Allah’s revelations. Such name
20
calling and stereotyping of Western and Arab leaders and labelling them as enemy is a prominent
Other prominent themes that emerge through the images is the portrayal of the ‘inevitable
victory’. The special section on attacks that ISIS members carry out have images loaded with
members holding hands, atop dead bodies and tanks or carrying weapons with raised ISIS flags,
using a single, raised index finger as the symbol of their cause That's the TAWHID finger!
Means there is no Allah but One Allah! Muslims when they pray, they use that finger in the
In the picture what is written on the black flag he is raising is the same thing that his
Additionally, with images showing the good work that ISIS is doing in Syria and in the
region it controls (see figures 4 and 5), ISIS resorts to the technique of half-truth to attract
recruits. For instance, in the ninth issue it has published a special report titled, ‘Healthcare in
Khilafah’ that has images of doctors treating patients, advanced medical equipment, and gives a
detailed information on the current and future medical facilities that it has made available for
members.
21
Figure 4 and 5: (Left) This image of a doctor treating a child, published in the ninth issue of Dabiq and
(right) of a worker cleaning the streets of Syria are examples of the theme, ‘Civic calling’ that use the
technique of half-truth to attract recruits.
Conclusion
An analysis of 11 issues of Dabiq showed that ISIS used images predominantly to convey
its ideology to its followers. It resorts to propaganda techniques of appeal to fear and name
calling/stereotyping/labelling. The themes of violence and threat and images of ‘enemy’ appear
predominantly in the images published in Dabiq. Although, the percentage of images with a
religion as its theme is low, the text cites Islamic ideology, verses of Mohammed and his
successors and also quotes from the Hadith (heard sayings of Prophet Mohammed) to attract
recruits. The images are prominently placed along with the text that legitimized its terror
Dabiq which limits the scope of investigation. Future studies should consider examining the text
22
and images together to understand propaganda techniques of the terrorist group to produce
counter strategies.
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