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This book examines selfies as a relational and processual networked
social practice, performed between people within digital contexts
and that involve online/offline intersections and tensions. It
offers an analysis of selfies through a rich and interdisciplinary
framework, that explores the ritualized and affective engagements
selfies provoke from others. Given that selfies by definition are
shared and posted through networked platforms, they complicate
notions of traditional photographic self-portraiture. As such, this
book explores how selfies invoke broader, stratified patterns of
looking that are occluded in discourses of "empowerment" and
"visibility", as well as the subjectivities these networked
practices work to produce. Drawing on extensive qualitative
research conducted over a period of three years, this book
questions not only what selfies are but what they do, they worlds
they create, the imaginaries that organize them, and the flows of
desire, affect and normativity that underpin them, questions that
can only be addressed through research that closely attends to the
experience of selfie-takers. It will be of interest to those
working in the fields of Sociology, Cultural studies,
Communications, Visual Studies, Social Media studies, Feminist
research and Affect Theory.
Images of faces, bodies, selves and digital subjectivities abound
on new media platforms like Snapchat, Instagram, YouTube, and
others-these images represent our new way of being online and of
becoming socially mediated. Although researchers are examining
digital embodiment, digital representations, and visual vernaculars
as a mode of identity performance and management online, there
exists no cohesive collection that compiles all these contemporary
philosophies into one reader for use in graduate level classrooms
or for scholars studying the field. The rationale for this book is
to produce a scholarly fulcrum that pulls together scholars from
disparate fields of inquiry in the humanities doing work on the
common theme of the socially mediated body. The chapters in
Mediated Interfaces: The Body on Social Media represent a diverse
list of contributors in terms of author representation, inclusivity
of theoretical frameworks of analysis, and geographic reach of
empirical work. Divided into three sections representing three
dominant paradigms on the socially mediated body: representation,
presentation, and embodiment, the book provides classic, creative,
and contemporary reworkings of these paradigms.
Korda's famous photograph of Che Guevara titled the "Guerrillero
Heroico" has been reproduced, modified and remixed countless times
since it was taken on March 5, 1960, in Havana, Cuba. This book
looks again at this well-known mass-produced image to explore how
an image can take on cultural force in diverse parts of the globe
and legitimate varying positions and mass action in unexpected
global political contexts. Analytically, the book develops a
comparative analysis of how images become attached to a range of
meanings that are absolutely inseparable from their contexts of
use. Addressing the need for a fluid and responsive approach to the
study of visual meaning-making, this book relies on multiple
methodologies such as semiotics, research-creation, multimodal
discourse analysis, ethnography and phenomenology. Each method has
something to offer toward the understanding of the social and
cultural work of images in our global cultures.
Alberto Korda's famous photograph of Che Guevara titled the
"Guerrillero Heroico" has been reproduced, modified and remixed
countless times since it was taken on March 5, 1960, in Havana,
Cuba. This book looks again at this well-known mass-produced image
to explore how an image can take on cultural force in diverse parts
of the globe and legitimate varying positions and mass action in
unexpected global political contexts. Analytically, the book
develops a comparative analysis of how images become attached to a
range of meanings that are absolutely inseparable from their
contexts of use. Addressing the need for a fluid and responsive
approach to the study of visual meaning-making, this book relies on
multiple methodologies such as semiotics, research-creation,
multimodal discourse analysis, ethnography and phenomenology and
shows how each method has something to offer toward the
understanding of the social and cultural work of images in our
globally oriented cultures.
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