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HOW DO I MAKE IT BIG ON SOCIAL MEDIA? WHAT IS MY STORY—AND WHO IS MY AUDIENCE? WHAT CONTENT SHOULD I POST TO ACHIEVE #SUCCESS? HOW DO I GO VIRAL...OR HOW LONG WILL IT TAKE ME TO GET NOTICED? Selfie Made is a one-of-a-kind guide to creating a digital identity, finding an audience, and building a powerful brand—your own!—on the Internet. Whether you want to be in front of or behind the camera, produce click-worthy content or start your own business, this book is the place to begin. Written by Meridith Valiando Rojas, the hugely successful (and super friendly IRL) founder of DigiTour who has worked with every major star from YouTube to Musical.ly, this collection of personal anecdotes and professional advice, tricks of the trade and behind-the-screen secrets, will give you everything you need for your social media toolkit. Here, you’ll get to know the true stories behind some of today’s most successful multimedia stars and influencers, including: Max And Harvey - Blake Gray - Danielle Cohn Bryce Xavier - Lauren Godwin - Nathan Triska Trevor Moran - Messy Monday - Simon Britton ...and others who learned the ropes, beat the odds, and took social media by storm. And so can you!
HOW DO I MAKE IT BIG ON SOCIAL MEDIA? WHAT IS MY STORY—AND WHO IS MY AUDIENCE? WHAT CONTENT SHOULD I POST TO ACHIEVE #SUCCESS? HOW DO I GO VIRAL...OR HOW LONG WILL IT TAKE ME TO GET NOTICED? Selfie Made is a one-of-a-kind guide to creating a digital identity, finding an audience, and building a powerful brand—your own!—on the Internet. Whether you want to be in front of or behind the camera, produce click-worthy content or start your own business, this book is the place to begin. Written by Meridith Valiando Rojas, the hugely successful (and super friendly IRL) founder of DigiTour who has worked with every major star from YouTube to Musical.ly, this collection of personal anecdotes and professional advice, tricks of the trade and behind-the-screen secrets, will give you everything you need for your social media toolkit. Here, you’ll get to know the true stories behind some of today’s most successful multimedia stars and influencers, including: Max And Harvey - Blake Gray - Danielle Cohn Bryce Xavier - Lauren Godwin - Nathan Triska Trevor Moran - Messy Monday - Simon Britton ...and others who learned the ropes, beat the odds, and took social media by storm. And so can you!
“An intriguing odyssey” though the history of the self and the rise of narcissism (The New York Times). Self-absorption, perfectionism, personal branding—it wasn’t always like this, but it’s always been a part of us. Why is the urge to look at ourselves so powerful? Is there any way to break its spell—especially since it doesn’t necessarily make us better or happier people? Full of unexpected connections among history, psychology, economics, neuroscience, and more, Selfie is a “terrific” book that makes sense of who we have become (NPR’s On Point). Award-winning journalist Will Storr takes us from ancient Greece, through the Christian Middle Ages, to the self-esteem evangelists of 1980s California, the rise of the “selfie generation,” and the era of hyper-individualism in which we live now, telling the epic tale of the person we all know so intimately—because it’s us. “It’s easy to look at Instagram and selfie-sticks and shake our heads at millennial narcissism. But Will Storr takes a longer view. He ignores the easy targets and instead tells the amazing 2,500-year story of how we’ve come to think about our selves. A top-notch journalist, historian, essayist, and sleuth, Storr has written an essential book for understanding, and coping with, the 21st century.” —Nathan Hill, New York Times-bestselling author of The Nix “This fascinating psychological and social history . . . reveals how biology and culture conspire to keep us striving for perfection, and the devastating toll that can take.”—The Washington Post “Ably synthesizes centuries of attitudes and beliefs about selfhood, from Aristotle, John Calvin, and Freud to Sartre, Ayn Rand, and Steve Jobs.” —USA Today “Eminently suitable for readers of both Yuval Noah Harari and Daniel Kahneman, Selfie also has shades of Jon Ronson in its subversive humor and investigative spirit.” —Bookseller “Storr is an electrifying analyst of Internet culture.” —Financial Times “Continually delivers rich insights . . . captivating.” —Kirkus Reviews
This volume explores the selfie not only as a specific photographic practice that is deeply rooted in digital culture, but also how it is understood in relation to other media of self-portrayal. Unlike the public debate about the dangers of 'selfie-narcissism', this anthology discusses what the practice of taking and sharing selfies can tell us about media culture today: can the selfie be critiqued as an image or rather as a social practice? What are the technological conditions of this form of vernacular photography? By gathering articles from the fields of media studies; art history; cultural studies; visual studies; philosophy; sociology and ethnography, this book provides a media archaeological perspective that highlights the relevance of the selfie as a stereotypical as well as creative practice of dealing with ourselves in relation to technology.
This book examines selfies as a relational and processual networked social practice, performed between people within digital contexts and that involve online/offline intersections and tensions. It offers an analysis of selfies through a rich and interdisciplinary framework, that explores the ritualized and affective engagements selfies provoke from others. Given that selfies by definition are shared and posted through networked platforms, they complicate notions of traditional photographic self-portraiture. As such, this book explores how selfies invoke broader, stratified patterns of looking that are occluded in discourses of "empowerment" and "visibility", as well as the subjectivities these networked practices work to produce. Drawing on extensive qualitative research conducted over a period of three years, this book questions not only what selfies are but what they do, they worlds they create, the imaginaries that organize them, and the flows of desire, affect and normativity that underpin them, questions that can only be addressed through research that closely attends to the experience of selfie-takers. It will be of interest to those working in the fields of Sociology, Cultural studies, Communications, Visual Studies, Social Media studies, Feminist research and Affect Theory.
A nuanced, feminist, and deeply personal take on beauty culture and YouTube consumerism, in the tradition of Maggie Nelson’s Bluets As Daphné B. obsessively watches YouTube makeup tutorials and haunts Sephora’s website, she’s increasingly troubled by the ways in which this obsession contradicts her anti-capitalist and intersectional feminist politics. In this poetic treatise, she rejects the false binaries of traditional beauty standards and delves into the celebrities and influencers, from Kylie to Grimes, and the poets and philosophers, from Anne Boyer to Audre Lorde, who have shaped the reflection she sees in the mirror. At once confessional and essayistic, Made-Up is a meditation on the makeup that colours, that obscures, that highlights who we are and who we wish we could be. The original French-language edition was a cult hit in Quebec. Translated by Alex Manley—like Daphné, a Montreal poet and essayist—the book’s English-language text crackles with life, retaining the flair and verve of the original, and ensuring that a book on beauty is no less beautiful than its subject matter. “The most radical book of 2020 talks about makeup. Radical in the intransigence with which Daphne B hunts down the parts of her imagination that capitalism has phagocytized. Radical also in its rejection of false binaries (the authentic and the fake, the futile and the essential) through the lens of which such a subject is generally considered. With the help of a heady combination of pop cultural criticism and autobiography, a poet scrutinizes her contradictions. They are also ours.” —Dominic Tardif, Le Devoir “[Made-Up] is a delight. I read it in one go. And when, out of necessity, I had to put it down, it was with regret and with the feeling that I was giving up what could save me from a catastrophe.” —Laurence Fournier, Lettres Québécoises, five stars "Made-Up is a radiant, shimmering blend of memoir and cultural criticism that uses beauty culture as an entry point to interrogating the ugly contradictions of late capitalism. In short, urgent chapters laced with humor and wide-ranging references, Daphné B. plumbs the depths of a rich topic that’s typically dismissed as shallow. I imagine her writing it in eye pencil, using makeup to tell the story of her life, as so many women do." —Amy Berkowitz, author of Tender Points "A companion through the thicket of late stage capitalism, a lucid and poetic mirror for anyone whose image exists on a screen." —Rachel Kauder Nalebuff "Made-Up is anything but—committed to the grit of our current realities, Daphné B directs her piercing eye on capitalism in an intimate portrayal of what it means to love, and how to paint ourselves in the process. Alex Manley has gifted English audiences with a nuanced translation of a critical feminist text, exploring love and make-up as a transformative social tool." —Sruti Islam "The book will leave you both laughing in recognition and wincing at the reality of the beauty world’s impact on our collective psyche." —Chatelaine "[Made-Up] examines the intersection of beauty culture and consumer culture... Aided by the work of writers like Anne Carson, Anne Boyer, Amanda Hess, and Arabelle Sicardi... B. makes sharp observations about the ideologies behind both beauty [...] and consumerism." —Bitch Media "Made‑Up: A True Story of Beauty Culture under Late Capitalism is well worth reading." —Literary Review of Canada "[Made-Up], newly translated by writer/poet Alex Manley from its original French, puts an intersectional, feminist lens on the author’s personal fascination with the makeup industry; it also reckons with the cultural dominance of this fascination as she aims to square anti-capitalist principles with beauty-product obsession." —BitchReads: 11 Books Feminists Should Read in September
In Selfie Aesthetics Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality. Morse contends that rather than being understood as shallow emblems of a narcissistic age, selfies can produce politically meaningful encounters between creators and viewers. Through close readings of selfies and other digital artworks by trans feminist artists, Morse details a set of formal strategies they call selfie aesthetics: doubling, improvisation, seriality, and nonlinear temporality. Morse traces these strategies in the work of Zackary Drucker, Vivek Shraya, Tourmaline, Alok Vaid-Menon, Zinnia Jones, and Natalie Wynn, showing how these artists present improvisational identities and new modes of performative resistance by conveying the materialities of trans life. Morse shows how the interaction between selfie creators and viewers constructs collective modes of being and belonging in ways that envision trans feminist futures. By demonstrating the aesthetic depth and political potential of selfie creation, distribution, and reception, Morse deepens understandings of gender performativity and trans experience.
What explains our current obsession with selfies? In I Love My Selfie noted cultural critic Ilan Stavans explores the selfie's historical and cultural roots by discussing everything from Greek mythology and Shakespeare to Andy Warhol, James Franco, and Pope Francis. He sees selfies as tools people use to disguise or present themselves as spontaneous and casual. This collaboration includes a portfolio of fifty autoportraits by the artist ADÁL; he and Stavans use them as a way to question the notion of the self and to engage with artists, celebrities, technology, identity, and politics. Provocative and engaging, I Love My Selfie will change the way readers think about this unavoidable phenomenon of twenty-first-century life.
This book investigates the relationship between the self and screen in the digital age, and examines how the notion of the self is re-negotiated and curated online. The chapters examine the production of the self in postmodernity through digital platforms by employing key concepts of ubiquity, the everyday, disembodiment and mortality. It locates self-production through ubiquitous imaging of the self and our environments with and through mobile technologies and in terms of its ‘embeddedness’ in our everyday lives. In this innovative text, Yasmin Ibrahim explores technology’s co-location on our corporeal body, our notions of domesticity and banality, our renewed relationship with the screen and our enterprise with capital as well as the role of desire in the formation of the self. The result is a richly interdisciplinary volume that seeks to examine the formation of the self online, through its renewed negotiations with personalised technologies and with the emergence of social networking sites.
The ""V"" factor in My Best Selfie is a key in successful endurance in life. What does it take to get to your destiny, how do I get there with the odds I face today. The book ""My Best Selfie"" will inspire you as well as help you create a path to your success and do it with JOY! ""If there is no light in your eyes, no warmth in your heart if there is nothing that makes you sing, you will continue to fade into the darkness that tries its best to suffocate you, never realizing the brilliance of your existence."" Much Love Sherree