Selfies and the Self

• Authors: Bruś Teresa

Title variants

PL

Selfies a podmiot

• Languages of publication: EN

Abstracts

EN

Film cameras made it possible for individuals to present themselves to others, to assume and feel agency, also to change it, to utilize agency to claim participation in diverse collectivities. Most recently, digital cameras have presented their users with astonishing ways to encourage but also to disseminate diverse acts of agency. In this paper the author proposes to bring to the fore the selfie (an emerging sub-genre of portraiture) as a new cultural product responsible for mediation, production, and transmission of subjectivities in the global mediascapes. Framing the subject in ways which defy ennobled aesthetic principles of photography, its cultivated artistry, selfies reconfigure and adapt ways the subject represent and understand themselves. This paper argues that selfies create visual spaces of novel modes of selfhood, of its certification and assertion.

PL

Selfie, znane również jako „selfik” czy „słiftfocia”, jest nowym rodzajem wizerunku, „autoportrecikiem” wykonanym telefonem komórkowym. Zdaniem wielu krytyków, ta „sztuka na wyciągnięcie ręki” (Jerry Saltz) rozwija się i przeobraża, zmieniając naszą samoświadomość, mowę ciała, społeczne relacje i sfery prywatności. W artykule autorka referuje stanowiska badaczy na temat nowych technologii wytwarzania tożsamości, zarysowując główne obszary tych badań, które odnoszą się do performatywnego wymiaru tworzenia wizerunku fotograficznego, praktykowania „tożsamościowego turyzmu”, a w szczególności definiowania autobiografii jako obrazu subiektywności należącego do społeczności wirtualnej.

Keywords

EN

selfie; identity; technology; self-portraiture; reciprocity

• Publisher: Wydawnictwo Naukowe Uniwersytetu Szczecińskiego
• Journal: Autobiografia. Literatura. Kultura. Media
• Year: 2015
• Issue: 1(4)
• Pages: 117–126

Contributors

author

Bruś Teresa

• University of Wrocław

References

• Brunet François, Photography and Literature, Reaktion Books, London 2013. Clarke Graham, The Photograph. A Visual and Cultural History, Oxford Paperbacks, Oxford 1997. Haraway Donna, The Persistence of Vision. In: The Visual Culture Reader, ed. Nicholas Mirzoeff, Routledge, London 1998, p. 677–685. Huhtamo Erkki, Pockets of Plenty: An Archeology of Mobile Media. In: The Mobile Audience: Media Art and Mobile Technologies, ed. Martin Rieser, Rodopi, Amsterdam–New York 2011, p. 23–38. Knight Brooke A., Performative Pictures: Camera Phones at the Ready. In: New Visualities: New Technologies: New Ecstasy of Communication, ed. J. Macgregor Wise and Hille Koskela, Ashgate, Burlington 2013, p. 150–170. Lukitsh Joanne, Julia Margaret Cameron and the Ennoblement of Photographic Portraiture. In: Victorian Scandals. Representations of Gender and Class, ed. Kristine Ottesen Garrigan, Ohio University Press, Athens 1992, p. 200–220. Margarlit Ruth, Should Auschwitz Be a Site for Selfies?, “The New Yorker”, 26.06.2014. Menaker Daniel, Taking Our Selfies Seriously, “The New York Times”, 23.11.2013. Nakamura Lisa, Cybertypes: Race, Ethnicity, and Identity on the Internet, Routledge, London 2002. Poletti Anna, Rak Julie, Identity Technologies, University of Wisconsin Press, Madison 2014. Reilly Rachel, Now You Can Wear Your SELFIE, MailOnline, article 2921575. Routledge Pamela, Making Sense of #selfies, www.psychologytoday.com/blog/positively-media, 8.06.2013. Routledge Pamela, #Selfies: Narcissism or Self-Exploration?, “Psychology Today”, 18.04.2013. Selfie, www.oxforddictionaries.com. Selfie survey, www.picmonkey.com. Smith Sidonie, Watson Julia, Reading Autobiography: A Guide for Interpreting Life Narratives, University of Minessota Press, Minneapolis 2010. Sontag Susan, On Photography, FSG, London 1979. Telfer Tori, How to Take a Selfie, www.bustle.com.

Identifiers

ISSN

2353-8694

DOI

10.18276/au.2015.1.4-08