Selfie
Digital Self-Portraits as Commodity Form and Consumption Practice
Bibliographic Data
| ID | 2165985 |
|---|---|
| Authors | Mehita Iqani (0000-0001-9746-8766, University of the Witwatersrand, corresponding author), Jonathan E Schroeder (0000-0003-3337-1310, Rochester Institute of Technology) |
| Year | 2016 |
| Volume | 19 |
| Issue | 5 |
| Pages | 405-415 |
| Publication date | 2016-09-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Consumption Markets & Culture (JOURNAL) |
| Journal identifiers | ISSN: 1025-3866 • E-ISSN: 1477-223X |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/10253866.2015.1116784 |
| OpenAlex | W2209062797 |
| Language | EN |
| Citations received | 36 |
| References cited | 25 |
Although selfies may appear to be the latest fad, their popularity has had a transformational influence on contemporary culture. Selfies invoke important issues in communication, photography, psychology, self-expression, and digital media studies – as they bring up a host of concerns about identity, privacy, security, and surveillance. This article provides an interdisciplinary overview of the selfie as both an object and a practice, and offers theoretical reflections on how the selfie can be seen as an important commodity form and consumer behaviour. The selfie is connected to concepts of authenticity, consumption, and self-expression, as well as practices of art history, media forms, and self-portraiture. Strategic use of the selfie reveals shifts in the traditional functions of the advertising photograph, from sources of information, persuasion, and representation to emblems of social currency. We position the selfie not as a postmodern anomaly but as a type of image with a history
Advertising · Aesthetics · Art · Business · Consumption (sociology · Identity (music · Media studies · Object (grammar · Political science · Popularity · Postmodernism · Selfie · Social media · Social science · Sociology · Visual arts · Cinema and Media Studies · Computer Science · Law · Photography and Visual Culture · Psychology · Social Psychology · Visual Culture and Art Theory · Artificial Intelligence
Being me on Instagram
The Commodification of the Body Positive Movement on Instagram
A Portrait of a ‘Selfie’ in the Making
Cyber-physical traveler performances and Instagram travel photography as ideal impression management
From self(ie)-objectification to self-empowerment
Entornos digitales, conectividad y educación. Percepción y gestión del tiempo en la construcción de la identidad digital de la juventud
From Paris is Burning to #dragrace
Crafting the Digital Self
Anxiety in digital consumer culture
No selfies
Aberrant consumers
Selfies in ‘mommyblogging’
My sport, my perspectives
Self-Representations of Women’s Sport Fandom on Instagram at the 2015 Fifa Women’s World Cup
Digital heritage tourism
Do online crowds really exist? Proximity, connectivity and collectivity
I will not hate myself because you cannot accept me ”
Symbolic bordering
Trans* media ecology
The athletic labour of femininity
Why can’t I take a full-shot of myself? of course I can!” studying selfies as socio-technological affective practices
R/23andMe and my pictures
The most inspiring bikini photos you’ll see this summer”
Body Surveillance on Instagram
Visitor perceptions of European Holocaust Heritage
E-mmortal
The border as “other space”
The sci-commodity sensibilities of performative Covid-19 face masking
Holocaust heritage digilantism on Instagram
American Glamour 2.0
Archaeological intimacy and heritage publics
Performing Post-feminist Wealth
FromParis is Burningto #dragrace
The labour of visual authenticity on social media
Selfie consumerism in a narcissistic age
Kinfolkmagazine
Visual Consumption
Domestic Snapshots
The “Eternal Return”
Picturing the Self
Snapshots
Snapshots, or
Stance-taking and public discussion in blogs
Self-mediation
Cowboys, Outlaws and Artists
Picture This
Media Culture
The Consumer Society
Selfies, Image and the Re-making of the Body
Instafame
The Quest for Authenticity in Consumption
Notes to self
Brand Culture and Branded Workers
| Unique citing works | 36 |
|---|---|
| Citations per year | 3,6 |
| Citation span | 2016 - 2026 (11) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 35 |