This article forms part of a previously initiated line of research whose aim is to establish an epistemological framework for the study of video activism from the perspective of media and communication studies. In previous articles we have presented a model of definition and description of video activism (Mateos and Rajas, 2014) and a historical outline within certain conceptual limits (Mateos and Gaona, 2014). The aim of these works was to enable us to identify the practices of video activists and the contextual factors in which the emergence of video activism about a century ago became possible. In these texts we describe video activism as an audiovisual discursive practice that sets out to counter a discursive abuse or gap and is carried out by actors outside the dominant power structures. The audiovisual practice engaged in by these subjects of counterpower is one of political intervention (Shamberg, 1971; Buchloh, 1985; Harding 2001; Widgington, 2005; Bustos, 2006), which can be considered a direct heritage from militant cinema´s goals (Linares, 1976; Burton,1986; Sheppard, 2004; Mestman, 2011). The practise confines itself to a certain extent to the area of protest, but also includes other objectives such as education, the construction of a collective identity, social rebellion and denunciation, demonstration, meeting and bearing witness, all within the broader aim of promoting social change. "A way for film-makers and radical organizer-agitators to break into the consciousness of people. A chance to say something different... to say that people don´t have to be spectator-puppets. In our hands film is not an anesthetic, a sterile, smoothing-talking apparatus of control. It is a weapon to counter, to talk back and to crack the facade of lying media of capitalism

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