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Anashid – Islamic a cappella songs – figure prominently in the propagandaconsumption habits of the 17 jihadists who have caused casualties in the United States since 2013.

This article describes how the internet has come to play a central role in terrorist financing endeavours. Online channels allow terrorist financiers to network with like-minded individuals, in order to increase support, raise funds, and move wealth across the international system. For instance, the Islamic State, Hezbollah, and other groups have become adept at using these channels to finance their activities. Therefore, increased examination is required of the ways in which terrorists use the internet to raise and move funds. This study assesses some of the current trends and risks associated with online terrorist financing. Some policy options are also outlined, in order to reduce the threat of terrorist financing via the internet moving into the future.

The current study set out to investigate to what extent ISIS is bolstering its jihadist ideology on a ‘cut-and-paste’ or ‘cherry-picked’ version of Islam in their renowned online propaganda magazine Dabiq. The main objective was to examine in a systematic and quantitative way to what extent ISIS utilizes the Koran in an atomistic, truncated and tailored manner to bolster its religious legitimacy. A total of 15 issues of Dabiq and 700 Koranic references were scrutinized. By means of a quantitative analysis we developed an innovative taxonomy of Koranic chapters and verses (i.e. surahs and ayat, respectively) on the basis of their appearance in Dabiq. Our large-scale data analysis provide consistent empirical evidence for severe decontextualization practices of the Koran in three ways: (1) a thin, Medinan-dominated religious layer, (2) ayah mutilation, and (3) clustered versus exclusive mentions. Limitations and implications for future research, policy makers and CVE initiatives are discussed.

Why do young Muslim women radicalize and undertake high-risk political behaviors, and what factors influence their sociopolitical transformation? The process of radicalization happens because of individual, social, and political dynamics, and is facilitated by the availability of computer-mediated communication. Some young Muslim women keep detailed records of their radicalization process via social media, which we use to understand their sociopolitical transformation. By evaluating their language, we can better understand how their personal, social, and political development unfolds. This paper is a case study examining the words of one young Muslim woman, Aqsa Mahmood, who moved from her home in Scotland to join the ISIS fighters in Syria. Her Tumblr blog provides a linguistic, political, and ideological record of the process of her radicalization. We identify linguistic patterns in her blog posts that can help to develop and reveal a typology of the language of female radicalization.

The Harry Potter and The Hunger Games films are wildly popular with adolescents and adults alike, despite touching on themes that parallel the horrors in our own world’s geopolitical climate. The Islamic State (IS) promotes its own messages of violence, brutality, and even utopia through sophisticated propaganda disseminated via social media. This article discusses the extent to which propaganda depicted in Harry Potter and The Hunger Games approximates—in content and/or medium—that produced by IS in recent years. Propaganda in the Harry Potter films, largely produced in written form, resembles propaganda of the past, whereas propaganda in The Hunger Games makes use of contemporary mediums and techniques that resemble that which originates from IS. It is worthwhile to explore whether fiction provides audiences with a realistic portrayal of propaganda, as it may assist viewers in turning a critical eye toward the themes and technologies that are used in their own world to disseminate propaganda.

This report presents an analysis of the
production and propagation of online
antagonistic content related to Jews
posted on Twitter between October 2015
and October 2016 in the UK.