The actualities and newsreels of early cinema are not necessarily examples that come to mind when discussing the political impact of media in terms of traditional concepts such as the public sphere. Compared to later televised news broadcasts or contemporaneous newspaper articles, the silence and seeming lack of narrative structure in newsreels make them appear more as disrupting experiences, perhaps closer to what Deluca & Peeples (2002) have referred to as images on a public screen, or possibly even what today within the art world is referred to as glitch (Menkman 2011). Early cinema grew out of a field of new media technology that allowed reality to literally be seen in a new and different light (cf. Elsaesser & Barker ed. 1990; Schwartz 1999). And perhaps it is because it fails to meet our expectations of later “traditional” news, or hopes of an objective mediation of reality, that it actually provided political opportunity (cf. Cammaerts 2012). Especially for marginalized groups of the early 20th century Europe who sought recognition beyond the expectations contained within dominant discourses. In an attempt to capture the early cinematic experience of mediated protest and understand its role in processes of political and social change, this study will explore the image composition of newsreels and actualities depicting protests by groups with little or none political recognition in early modern Europe, such as workers and women. These will then be contextualized historically and politically by use of the contemporary concepts public screen and glitch.