This collection explores the cultural fascination with social media forms of self-portraiture, "selfies," with a specific interest in online self-imaging strategies in a Western context. This book examines the selfie as a social and technological phenomenon but also engages with digital self-portraiture as representation: as work that is committed to rigorous object-based analysis. The scholars in this volume consider the topic of online self-portraiture—both its social function as a technology-driven form of visual communication, as well as its thematic, intellectual, historical, and aesthetic intersections with the history of art and visual culture. This book will be of interest to scholars of photography, art history, and media studies.

The Routledge Companion to Photography and Visual Culture is a seminal reference source for the ever-changing field of photography. Comprising an impressive range of essays and interviews by experts and scholars from across the globe, this book examines the medium’s history, its central issues and emerging trends, and its much-discussed future. The collected essays and interviews explore the current debates surrounding the photograph as object, art, document, propaganda, truth, selling tool, and universal language; the perception of photography archives as burdens, rather than treasures; the continual technological development reshaping the field; photography as a tool of representation and control, and more. One of the most comprehensive volumes of its kind, this companion is essential reading for photographers and historians alike.

Why must beauty be seen as a binary that is either oppressive or empowering for women? The Beauty Paradox: Femininity in the Age of Selfies argues that women’s experiences of beauty as both validating and belittling is grounded in the contradictory injunctions that they receive regarding their participation in beauty culture. Piazzesi identifies the four main paradoxes of Western beauty culture: the worth paradox, the authenticity paradox, the power paradox, and the commitment paradox and examines how they trail women’s everyday experiences, choices, and reflections regarding beauty. She examines the role of beauty in women’s everyday lives and in a variety of contexts: informal social encounters, work and career settings, parenting, intergenerational relationships, self-care, and online networking practices. The author broadens the current discourse on beauty with an emphasis on the digital world, primarily the use of selfies.

*NOW FULLY UPDATED AND EXPANDED WITH SIX NEW CHAPTERS* Over the past forty years, Consumer Culture Theory (CCT) has emerged as a distinctive field of study that synthesizes diverse subjects such as anthropology, cultural studies, marketing, political theory and sociology to provide new insights into consumers’ relationships to the marketplace and the influence of commercial action on culture. This book, edited by leading scholars in CCT, contains contributions by many of its leading researchers, and distills this interdisciplinary field into a concise accessible overview for students and early career researchers. It describes the key themes, concepts and theoretical areas of CCT; explains why they are useful in understanding consumption and marketplace phenomena; and shows how they can be applied to a wide range of research contexts. Drawing on real-world scenarios, reflective tasks and international case studies to help aid theoretical understanding and critical thinking, the text is designed to support a course in CCT, supplement related study, and guide undergraduate and postgraduate students in writing a CCT-related dissertation/thesis. It is the go-to text for anyone who is curious about, new to CCT, or looking for an integrative compendium of CCT research and its implications. Eric J. Arnould is Emeritus Professor of Marketing at the Aalto University Business School, Finland. Craig J. Thompson is the Churchill-Bascom Professor of Marketing at the University of Wisconsin-Madison, USA. David Crockett is Professor of Marketing at the University of Illinois Chicago, USA. Michelle F. Weinberger is Associate Professor at the Medill School of Journalism, Media, Integrated Marketing Communications at Northwestern University, Illinois, USA.

A Companion to Contemporary Art in a Global Framework explores the ways specialists and institutions in the fine arts, curation, cultural studies, and art history have attempted to situate art in a more global framework since the 1980s. Offering analyses of the successes and setbacks of these efforts to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as ‘art’ is essentially a Western concept, thus any attempts at understanding art in a global framework require a revising of established conceptual definitions. Organized into three sections, this work first reviews the history and theory of the visual arts since 1980 and introduces readers to the emerging area of scholarship that seeks to place contemporary art in a global framework. The second section traces the progression of recent developments in the art world, focusing on the historical and cultural contexts surrounding efforts to globalize the art world and the visual arts in particular global and transnational frameworks. The final section addresses a wide range of key themes in contemporary art, such as the fundamental institutions and ontologies of art practice, and the interactions among art, politics, and the public sphere. A Companion to Contemporary Art in a Global Framework is essential reading for undergraduate and graduate students, scholars, researchers, and general readers interested in exploring global art beyond the traditional Euro-American context.

This second edition has been comprehensively updated and expanded, from 39 to 49 chapters. The Handbook spans the entire research process, from data collection to analysis and interpretation.

The SAGE Handbook of Social Media Research Methods offers a step-by-step guide to overcoming the challenges inherent in research projects that deal with ‘big and broad data’, from the formulation of research questions through to the interpretation of findings. The handbook includes chapters on specific social media platforms such as Twitter, Sina Weibo and Instagram, as well as a series of critical chapters. The holistic approach is organised into the following sections: Conceptualising & Designing Social Media Research Collection & Storage Qualitative Approaches to Social Media Data Quantitative Approaches to Social Media Data Diverse Approaches to Social Media Data Analytical Tools Social Media Platforms This handbook is the single most comprehensive resource for any scholar or graduate student embarking on a social media project.

This comprehensive volume explores the set of theoretical, methodological, ethical and analytical issues that shape the ways in which visual qualitative research is conducted in psychology. Using visual data such as film making, social media analyses, photography and model making, the book uniquely uses visual qualitative methods to broaden our understanding of experience and subjectivity. In recent years, visual research has seen a growing emphasis on the importance of culture in experience-based qualitative methods. Featuring contributors from diverse research backgrounds including narrative psychology, personal construct theory and psychoanalysis, the book examines the potential for visual methods in psychology. In each chapter of the book, the contributors explore and address how a visual approach has contributed to existing social and psychological theory in their line of research. The book provides up-to-date insights into combining methods to create new multi-modal methodologies, and analyses these with psychology-specific questions in mind. It covers topics such as sexuality, identity, group processes, child development, forensic psychology, race and gender, and would be the ideal companion for those studying or undertaking research in disciplines like psychology, sociology and gender studies.

Reimagining Communication: Experience explores the embodied and experiential aspects of media forms across a variety of contemporary platforms, uses, content variations, audiences, and professional roles. A diverse body of contributions offer a broad range of perspectives on memory, embodiment, time, and more. The volume is organized to reflect a pedagogical approach of carefully laddered and sequenced topics, which supports meaningful, project-based learning in addition to a course’s traditional writing requirements. As the field of Communication Studies has been continuously growing and reaching new horizons, this volume presents a survey of the foundational theoretical and methodological approaches that continue to shape the discipline, synthesizing the complex relationship of communication to forms of experience in a uniquely accessible and engaging way. This is an essential introductory text for advanced undergraduate and graduate students and scholars of communication, media, and interactive technologies, with an interdisciplinary focus and an emphasis on the integration of new technologies.

Defined as a self-image made with a hand-held mobile device and shared via social media platforms, the selfie has facilitated self-imaging becoming a ubiquitous part of globally networked contemporary life. Beyond this selfies have facilitated a diversity of image making practices and enabled otherwise representationally marginalized constituencies to insert self-representations into visual culture. In the Western European and North American art-historical context, self-portraiture has been somewhat rigidly albeit obliquely defined, and selfies have facilitated a shift regarding who literally holds the power to self-image. Like self-portraits, not all selfies are inherently aesthetically or conceptually rigorous or avant-guard. But, –as this project aims to do address via a variety of interdisciplinary approaches– selfies have irreversibly impacted visual culture, contemporary art, and portraiture in particular. Selfies propose new modes of self-imaging, forward emerging aesthetics and challenge established methods, they prove that as scholars and image-makers it is necessary to adapt and innovate in order to contend with the most current form of self-representation to date. The essays gathered herein will reveal that in our current moment it is necessary and advantageous to consider the merits and interventions of selfies and self-portraiture in an expanded field of self-representations. We invite authors to take interdisciplinary global perspectives, to investigate various sub-genres, aesthetic practices, and lineages in which selfies intervene to enrich the discourse on self-representation in the expanded field today.