I've seen such crowdsourced or alternative footage abused, often by mislabling it.
In one case, my YouTube addiction of watching Things That Go Boom paid off when I saw a video showing a huge refinery explosion reported as being in the Gaza Strip and recognised it instead as coming from a Pemex plant in Mexico: <https://yewtu.be/watch?v=0LD82y4ulds>
I posted evidence of the true nature and challenged the poster over the disinformation. They never issued a correction or apology, though the post disappeared some time later (months, as I recall).
This is fairly common: actual incident footage from one context is portrayed in another.
There's a classic cartoon illustrating this: two men running, one with a raised knife, though in the cropped framing of the television camera it appears that the fleeing man is threatening the attacker:
<https://archive.org/details/The-Media-Shows-You-What-They-Wa...>
Another classic example of framing shows two soldiers around a prisoner, one holding a rifle to the prisoner's head, the other offering water from a canteen. Depending on how that image is cropped, very different narratives are created:
My own preference is to attempt to source, view, and read information from multiple perspectives, whether that's video, images, or narratives/accounts. One lesson from our own senses is that we create the most accurate views of our world when relying on multiple sensory inputs. Our eyes, ears, and sense of balance can each fool us individually, it's much harder for them to be fooled collectively, or at least, the contradictions between inputs become apparent. This is a lesson well-understood by pilots, where the inner ear and actual or artificial horizon signals are often at odds (the "death spiral" in instrument conditions such as clouds, fog, or night flight is one tragic outcome, see JFK Jr.'s death).
And of course there are artisans who do manipulate these senses, which we find in cinema and stage magic, though those also rely strongly on a single and highly-crafted perspective on the action.
In one case, my YouTube addiction of watching Things That Go Boom paid off when I saw a video showing a huge refinery explosion reported as being in the Gaza Strip and recognised it instead as coming from a Pemex plant in Mexico: <https://yewtu.be/watch?v=0LD82y4ulds>
I posted evidence of the true nature and challenged the poster over the disinformation. They never issued a correction or apology, though the post disappeared some time later (months, as I recall).
This is fairly common: actual incident footage from one context is portrayed in another.
There's a classic cartoon illustrating this: two men running, one with a raised knife, though in the cropped framing of the television camera it appears that the fleeing man is threatening the attacker: <https://archive.org/details/The-Media-Shows-You-What-They-Wa...>
Discussed on: <https://blogs.longwood.edu/visualrhetoricbadgley/>
Another classic example of framing shows two soldiers around a prisoner, one holding a rifle to the prisoner's head, the other offering water from a canteen. Depending on how that image is cropped, very different narratives are created:
<https://www.moillusions.com/media-manipulation-illusion-exam...>
My own preference is to attempt to source, view, and read information from multiple perspectives, whether that's video, images, or narratives/accounts. One lesson from our own senses is that we create the most accurate views of our world when relying on multiple sensory inputs. Our eyes, ears, and sense of balance can each fool us individually, it's much harder for them to be fooled collectively, or at least, the contradictions between inputs become apparent. This is a lesson well-understood by pilots, where the inner ear and actual or artificial horizon signals are often at odds (the "death spiral" in instrument conditions such as clouds, fog, or night flight is one tragic outcome, see JFK Jr.'s death).
And of course there are artisans who do manipulate these senses, which we find in cinema and stage magic, though those also rely strongly on a single and highly-crafted perspective on the action.