I argue that these key characteristics of the selfie- the speedy capture of the selfie as object and the quick posting of the selfie as practice through social media platforms- have allowed for the selfie to become the symbol and instrument of a new feminist political movement. The instantaneous nature of the selfie via the smart phone, and its ability to be shared with friends immediately through social media has been adapted from that of Edwin Land’s Polaroid technology. I will explore feminist political selfies using the new definition of the selfie, as both a practice and an object, from leaders of academic selfie research, Theresa Senft and Nancy Baym (2015). I hope to open a discussion about the genre of feminist political selfies, and address why the selfie is an effective medium for performing the body as representation and as selfie object I will discuss multiple selfie campaigns, including Turkish women laughing from summer 2014, and body hair selfies originating in China, now present in the United States and Canada.
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To support this assertion, this paper will consider Prince’s Instagram series in the context of a much broader self-obsessed and gender-bending visual culture possible objects of comparison include James Franco’s “New Film Stills” series, the media coverage of Bruce Jenner’s transition to Caitlyn, and Kim Kardashian’s recently published collection of selfies, Selfish.įor the purposes of this major research paper, I am particularly interested in how self-identifying women use the selfie through the practices and technologies of smart phones and social media as a communication tool to challenge oppressive political statements and ideologies. What are we to make of Laura Mulvey’s famous ideological critique of the apparatus in the age of the selfie? If women control the camera they pose for, does it remain an always already patriarchal apparatus? It seems that, for a new generation of third-wave, post-selfie feminists, Mulvey’s definition of the gaze may no longer be a given.
Among the many pressing questions that Prince’s “New Portraits” series provokes, perhaps none is as interesting as the question of the selfie. No warranties, promises and/or representations of any kind, expressed or implied, are given as to the nature, standard, accuracy or otherwise of the information provided in this website nor to the suitability or otherwise of the information to your particular circumstances.CAA 2016 Session: Material Culture and Third-Wave Feminism Chair: Deborah Johnson At Gagosian in the fall of 2014, Richard Prince exhibited a series of now infamous appropriations from Instagram. Business For Home BV does not accept any responsibility or liability for the accuracy, content, completeness, legality, or reliability of the information contained on this website. However, the information is provided “as is” without warranty of any kind. Business For Home BV has made every attempt to ensure the accuracy and reliability of the information provided on this website. While we have used our reasonable efforts to ensure the accuracy of the data used in this website, data should be read as indicative of magnitude rather than exact figures. FAQ Business For Home Virtual Conference 2021.Virtual Business For Home Growth Conference 2021.21 Languages Available For The Business For Home Virtual Conference!.
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