Hostages and the Marketing of Horror
Among the most striking elements emerging from the released videos are the cries that convey chaos and terror—sounds that will likely linger in the collective memory, even at an auditory level. The obsessive, almost mantra-like chant of “Allah Akbar” seems to frame this event not only as a political episode but also as one with deep religious connotations. This repetitive invocation is an integral part of a communication strategy aimed at emphasizing the identity and ideological motivation of those who proclaim it.
In this context, the presence of children and adolescents, armed and visibly elated, shouting alongside militants, is impossible to ignore. Particularly unsettling is the image of a child, approximately four years old, perched on what appears to be his father’s shoulders while confidently holding a pistol. This conveys a powerful and troubling message: the indoctrination into violence and militancy begins at a very young age.
The images of young women forced to smile reveal an intense level of psychological violence and subjugation. Although they are dressed neatly in vibrant colors and have elaborate hairstyles, their eyes betray deep fear. This stark contrast between external appearance and internal reality strengthens the implicit message of control and oppression.
Amid the crowd, another symbolic scene stands out: a militant, with his rifle prominently displayed, climbing onto the roof of a Red Cross vehicle. This act is a clear visual and symbolic declaration of dominance, as if to imply that no institution, not even a neutral and humanitarian one, can exist beyond the organization’s control.
All of this seems part of a deliberate direction—a calculated work of media manipulation. Every frame, every detail, even the use of slow motion, appears crafted to heighten the emotional and psychological impact. It’s hard not to recall the early 2000s videos in which ISIS broadcast hostage executions with prisoners clad in orange jumpsuits. However, over time, this strategy has evolved.
The propaganda of terror has undergone a significant transformation, integrating elements of narrative and storytelling. This approach goes beyond acts of sheer violence, focusing on constructing a narrative that engages the audience by employing advanced communication techniques. For example, the portrayal of three women, survivors of harrowing conditions, surrounded by armed, shouting men while smiling as if to thank their captors, exemplifies a carefully designed and deeply disturbing message.
This spectacle is far from accidental. Every element—from the inclusion of children and women to the use of powerful imagery—is meticulously planned to amplify the emotional and psychological resonance of the message. This kind of propaganda takes full advantage of modern communication channels, turning acts of violence into universal messages capable of destabilizing consciences, instilling fear, and strengthening support among followers.
The most sophisticated aspect of this communication lies in its ability to combine symbolism and storytelling into an integrated strategy. The videos and images do more than document events; they transform them into tools of power, portraying the organization as an entity capable of dominating both the physical and narrative realms. In this sense, the use of visual techniques reminiscent of Hollywood serves to convey a message of strength and global control.
As Hannah Arendt aptly stated: “Terror is not just a tool for domination, but a language for communicating power.” In the case of Islamic terrorism, this language continually evolves, adapting to contemporary mediums and sensitivities, utilizing universal symbols to communicate fear, power, and control. It is a refined and ruthless form of communication, demonstrating that terror is not merely an act of violence but a deliberate message intended to influence, intimidate, and maintain dominance over the global narrative.