ABSTRACT
A red thread running through this book has been an interest in narrative. The book itself is a collection of narratives, as is any text that reports research, whether it has been completed or is work in progress. A narrative must contain an ‘orientation’ that establishes its setting, for otherwise it is not possible to understand what follows or make sense of the actions that further the story. What, then, is the setting of the narrative we have chosen to call Screening Protest? Or, to put it differently, and reprise the question posed by Mason at the beginning of the book: what’s going on? And how is whatever-is-going-on different from what was happening in 1999 (the year of the Seattle protests that inspired DeLuca and Peeples’ thoughts about the public screen) and 2011 (when the protester was heralded Person of the Year)?
