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The Self of the Camera: Popular Practices of Photography and Self-Presentation in the New Social Media

The Self of the Camera: Popular Practices of Photography and Self-Presentation in the New Social Media

Gilbert Ndi Shang
Copyright: © 2016 |Pages: 11
ISBN13: 9781522502128|ISBN10: 1522502122|EISBN13: 9781522502135
DOI: 10.4018/978-1-5225-0212-8.ch015
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MLA

Shang, Gilbert Ndi. "The Self of the Camera: Popular Practices of Photography and Self-Presentation in the New Social Media." Defining Identity and the Changing Scope of Culture in the Digital Age, edited by Alison Novak and Imaani Jamillah El-Burki, IGI Global, 2016, pp. 240-250. https://doi.org/10.4018/978-1-5225-0212-8.ch015

APA

Shang, G. N. (2016). The Self of the Camera: Popular Practices of Photography and Self-Presentation in the New Social Media. In A. Novak & I. El-Burki (Eds.), Defining Identity and the Changing Scope of Culture in the Digital Age (pp. 240-250). IGI Global. https://doi.org/10.4018/978-1-5225-0212-8.ch015

Chicago

Shang, Gilbert Ndi. "The Self of the Camera: Popular Practices of Photography and Self-Presentation in the New Social Media." In Defining Identity and the Changing Scope of Culture in the Digital Age, edited by Alison Novak and Imaani Jamillah El-Burki, 240-250. Hershey, PA: IGI Global, 2016. https://doi.org/10.4018/978-1-5225-0212-8.ch015

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Abstract

This chapter examines the revolution in self-representation across the cyber-space engendered by the advent of new interactive social medias. It argues that in the attempt to face the challenges of self-imaging in everyday life and in an era where discourses of “identities in flux” have become the norm, photographic trends on Facebook usage seek to portray a sense of coherence of the self through popular media practices. In this dimension, the new media spaces have provided a propitious space of autobiographic self-showing-narrating through a mixture of photos/texts in a way that deconstructs the privileges of self-narration hitherto available only to a privileged class of people. The self (and primarily the face) has thus become subject to a dynamic of personal and amateurish artistic practices that represent, from an existentialist perspective, the daily practices of self-making, un-making and re-making in articulating one's (social) being.

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