Shiny Happy People Holding Guns: 21st-Century Images of War

Silvestri, Lisa

doi:10.1080/15551393.2014.928159

Cited by 11 publications

(7 citation statements)

References 22 publications

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“…In contemporary contexts arising with the development of digital technologies, the most prominent form of self-portrait is no doubt the selfie. The practices of selfie making and sharing, as documented extensively in the research literature, exist in social contexts as diverse as war and militarism (Brager, 2015; Kuntsman and Stein, 2015; Silvestri, 2014), education (Charteris et al, 2014), pregnancy and breastfeeding (Boon and Pentney, 2015; Tiidenberg, 2015b) and funerals (Gibbs et al, 2014; Meese et al, 2015), and are being carried out by both private individuals, in particular young people (Albury, 2015), and groups visible in news and entertainment media such as politicians (Baishya, 2015; Coladonato, 2014) and celebrities (Collings, 2014; Nandy, 2015; Shipley, 2015).…”

Section: Selfie the Self And Subjectivitymentioning

confidence: 99%

Beyond the self: Intersubjectivity and the social semiotic interpretation of the selfie

Zhao

Zappavigna

2017

New Media & Society

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As an iconic image of our time, the selfie has attracted much attention in popular media and scholarly writing. The focus so far has been on the representation of the self or subjectivity. We propose a complementary perspective that foregrounds the intersubjective function of the selfie. We argue that the presence of selfhood is often an assumption. What distinguishes the selfie from other photographic genres is its ability to enact intersubjectivity – the possibility for difference of perspectives to be created and this difference to be shared between the image creator and the viewer. Based on a social semiotic analysis of selfies on Instagram, we identify four subtypes of selfie, each deploying a combination of visual resources to represent a distinct form of intersubjectivity. Our analysis suggests that the potential for empowerment is inherent in the visual structure of the selfie, and that, as a genre, it is open for recontextualisation across contexts and social media platforms.

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Section: Selfie the Self And Subjectivitymentioning

confidence: 99%

Beyond the self: Intersubjectivity and the social semiotic interpretation of the selfie

Zhao

Zappavigna

2017

New Media & Society

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“…Selfies have been considered as self-contained media (Swaminathan n.d.), as a rapid “documenting” of the self (Jenks 2013), as a “sociocultural revolution” about “identity affirmation” (Silvestri 2014, 114), as a “condition” of social media (Thumim 2012, 137), as a political convergence of the object and subject of photographic practice, as an act of conspicuous prosumption (Williams and Aldana Marquez 2015, 1776), as spaces for identity manipulation (Mehdizadeh 2010) or “selective self-representation” (Gibbs, Ellison, and Heino in Williams and Aldana Marquez 2015, 1776), and as a neoliberal, even narcissistic but increasingly normative mode of “self-branding” (Mehdizadeh 2010). They have also been considered as transformative and subversive elements (Ehlin 2014) as well as a political weapon.…”

Section: Selfies Bodies Masculinities and Sexualitiesmentioning

confidence: 99%

Masculine Bodies, Selfies, and the (Re)configurations of Intimacy

Grau

Gómez-Narváez

2017

Men and Masculinities

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This article is part of a research about the use of selfies in two different apps, Grindr and Instagram. We are interested in exploring how selfies relate to masculine bodies and produce different negotiations of intimacy. Selfies are personal, bodily centered, and highly visible. Understanding their production can contribute to the discussion on the digital exposure of intimacy and on the (self) management of masculine bodies. We consider selfies as discursive media that merge the visual and the discursive. Through their practice, users actively negotiate their masculine bodies and their intimacies and question and/or affirm hegemonies. Based on visual analysis and qualitative data obtained from observation and structured interviews, our results point out to the active production of selfies in relation to the different apps and to different styles of bodies that (in)visibilize different body parts and/or emotional traits. Selfies (re)present hegemonic, resistant, and emergent bodies with different understandings of intimacy.

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“…Shapiro and Humphreys, 2012) and more globally (e.g. Kuntsman and Stein, 2015;Pötzsch, 2015;Silvestri, 2014) and within a culture of (masculine) military life (see Hale, 2008;Hockey, 2003;Woodward et al, 2009;Woodward and Winter, 2007). But what also emerges is a long and complex gendering of digital mundane onlife practices that resonate not only with wider masculine military culture (Kuntsman and Stein, 2015;Robbins, 2007) but also (and importantly) with wider digital culture per se (see Ringrose et al, 2013).…”

Section: The Digital Mundanementioning

confidence: 99%

The digital mundane: social media and the military

Maltby

Thornham

2016

Media, Culture & Society

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This article draws on empirical data with British military personnel in order to investigate what we call the digital mundane in military life. We argue that social media and smartphone technologies within the military offer a unique environment in which to investigate the ways individual s position themselves within certain axes of institutional and cultural identities. At the same time, the convolutions, mediatory practices, and mundane social media rituals that service personnel employ through their smartphones resonates widely with, for example, youth culture, digital mobile cultures.Together they suggest complex mediations with social and mobile media, that draws on, and extends non-military practice into new (and increasingly normative) terrains.

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Shiny Happy People Holding Guns: 21st-Century Images of War

Cited by 11 publications

References 22 publications

Beyond the self: Intersubjectivity and the social semiotic interpretation of the selfie

Beyond the self: Intersubjectivity and the social semiotic interpretation of the selfie

Masculine Bodies, Selfies, and the (Re)configurations of Intimacy

The digital mundane: social media and the military

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