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Selfies provide unique opportunities to explore, document, and interact with the self through photography. However, the inherent intrapersonal affordance of self-portraiture becomes a unique manifestation of masspersonal theory when selfies are shared, a step that is often assumed but not unpacked in selfie research. Therefore, it is essential to understand when and for whom these intrapersonal and interpersonal moments evolve into masspersonal moments or communication episodes. This study uses a novel strategy to investigate selfie behavior–the likelihood of taking and sharing selfies–to assess individual differences between selfie-takers, or "selfiers". Discerning selfiers–people more likely to take than share selfies–report greater control and self-esteem compared to non-discerning selfiers, who are equally as likely to take as share selfies. Furthermore, control mediates the effect of selfier type on self-esteem; discerning selfiers report that others are not in control of their life, resulting in greater security regarding others' perceptions of them. The current findings reveal the unique effects of differential deployment of selfies. [ABSTRACT FROM AUTHOR]

Photography has recently received significant academic interest as a popular tourist activity. However, tourist selfie practises have not yet been thoroughly examined by tourism scholars. This study aimed to investigate tourist selfies storytelling and to determine if tourists'selfies at tourist destinations reveal specific aspects of the host destination, implying an embodiment of particular preferences, intentions, and motivations. In this study, an exploratory analysis employing a two-step qualitative approach was conducted. A semiotic analysis of 317 tourist selfie photos and two phases of in-depth interviews with eleven tourists visiting Egypt on a 7-day packaged tour were used. The findings reveal that tourists prefer to capture host communities' appearance and attributes in their selfies for different motivations and intentions. Intentions regarding impressions, advertisements, suggestions, and descriptions for these attributes were the intentions that shaped the tourists' selfie practise. This study contributes to our understanding of the content of travel-related selfies and tourist behaviour at destinations. It proposes management implications to assist tourism and hospitality professionals in engaging with and profiting from tourists' selfies practise. [ABSTRACT FROM AUTHOR]

This article draws on ten semi-structured interviews with mothers about their maternal selfie practices in order to explore how they use and navigate the form in relation to their motherhood identities and experiences. Whilst work on the form is still emerging, we examine the claim that maternal selfies offer space for a uniquely subjective expression/depiction of motherhood. As part of this, we explore how discussions of their selfie practices – and appraisals of the cultural circulation of the maternal selfie – resist and (re)produce discourses on acceptable digital and cultural paradigms of motherhood. The themes which emerged from these data were 1) the maternal selfie as empowerment, 2) authenticity as regulatory discourse and 3) the risks of negative affect. In drawing on work on neoliberal and intensive mothering frames, the article examines how the increasing emphasis (in digital cultures in particular) on displaying the complex realities of motherhood are implicated within the surveillance and self-surveillance of maternal visibility in ways which may (further) delimit the possibilities for maternal self-expression. [ABSTRACT FROM AUTHOR]

Through a case study of Istanbul's Foto Görçek, playfully dubbed 'the world's first selfie studio', this article focuses on the changing photographic practices from the mid-1940s–1960s in modern Turkey, which experienced a dramatic political transition during the 1950s with the introduction of the multi-party regime following three decades of strictly secular Kemalist rule. This study explores how Foto Görçek challenged and transformed studio practices in Turkey, particularly during its increasing popularity in the 1950s–1960s, by allowing people to take up Elizabeth Edwards' notion of the 'theater of the self', or when the self also takes on the role of the photographer. Accordingly, the article looks at the affordances of the photo studio as a space where citizens reimagined their desired selves and when new ways of imagining the self were made available to them. Moreover, this study investigates how such new imagined selves in the aftermath of the Second World War served to renegotiate a desired modern Turkish identity resulting from the rigorous state-controlled nation-building process during the 1920s–1930s. [ABSTRACT FROM AUTHOR]

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Selfies are a popular form of photography. However, due to physical constraints, the compositions of selfies are limited. We present algorithms for creating virtual portraits with interesting compositions from a set of selfies. The selfies are taken at the same location while the user spins around. The scene is analyzed using multiple selfies to determine the locations of the camera, subject, and background. Then, a view from a virtual camera is synthesized. We present two use cases. After rearranging the distances between the camera, subject, and background, we render a virtual view from a camera with a longer focal length. Following that, changes in perspective and lens characteristics caused by new compositions and focal lengths are simulated. Second, a virtual panoramic view with a larger field of view is rendered, with the user's image placed in a preferred location. In our experiments, virtual portraits with a wide range of focal lengths were obtained using a device equipped with a lens that has only one focal length. The rendered portraits included compositions that would be photographed with actual lenses. Our proposed algorithms can provide new use cases in which selfie compositions are not limited by a camera's focal length or distance from the camera. [ABSTRACT FROM AUTHOR]

Copyright of Comunicar (English Edition) is the property of Oxbridge Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This text examines the relationship between self-presentation and proclamation through the practice of taking selfies. It argues that the spread of selfies on social media is a religiously grounded endeavor that expresses a longing for an eternal present and an awareness of the unimaginable dimension of the individual self. The text suggests that selfies themselves can be seen as a form of proclamation and that the accusation of narcissism towards religious self-presentation practices should be debunked in theology. The author argues that selfies reflect a need for an eternal present and an acknowledgment of the unimaginable dimension of the individual self. These needs can also be relevant in religious contexts. The author refers to a column in which a literary scholar discusses the philosophy of selfies and argues that selfies offer a way to suspend time and capture the significance of the moment. The author concludes by stating that self-presentation in sermons and selfies can have religious aspects. The text addresses the religious dimensions of selfie culture and argues that they should not be hastily dismissed as narcissistic. The desire to freeze time and create a lasting presence can be interpreted as an expression of a longing for permanence and meaning. However, the practice of taking selfies can also lead to an empty pursuit of more and better self-images. The text highlights the religious significance of self-presentation and argues that performative actions in the church or during worship serve a similar function as selfies: they enable communication and affirmation of religious consciousness. The text explores the topic of self-presentation and role presentation on social media, particularly in relation to selfies. It points out that self-presentation has long existed in everyday life and that social media has amplified this practice. It emphasizes that self-presentation is not only aimed at social recognition but also serves as a means to protect or conceal one's own self. It notes that self-presentation on social media offers both the opportunity for visibility and recognition, but also the risk of self-discrediting. The text delves into the significance of selfies and their connection to religion. It argues that selfies are not just narcissistic self-presentations but also express a longing for an eternal present and an acknowledgment of the invisible dimension of the individual self. The practice of taking selfies is seen as a way to cope with the challenges of modern society. The text suggests that the church and theology should address these needs and incorporate them into their proclamation work instead of distancing themselves from selfie culture. It argues that a theology that responds to the experiences and needs of individuals is necessary to convey the divine word. [Extracted from the article]

In the mid-2010s, the media reported a series of disturbances at heritage sites caused by visitors taking nude self-photographs or selfies. In this article, nude selfies are analysed as a visual practice, and it is discussed what they reveal about visually structured tourist encounters with heritage sites. It is argued that nude heritage selfies continue the practice of old European art visually linking nudity, heritage, and tourism. In fact, many of the violations that the visitors taking such selfies are accused of are relevant for the whole practice of global tourism. Consequently, nude heritage selfies allow discussions of broader cultural and social problems related to global heritage tourism. [ABSTRACT FROM AUTHOR]

As the ethical barriers surrounding 'digital Holocaust etiquette' remain contested, scholars like Daniel Magilow and Lisa Silverman question whether there can be unwritten rules of behavior at sites of historical trauma. Because of significant shifts in the digital arena, too, legacy types of memory formation, such as collective memories associated with physical spaces, are being challenged by a new type of digital archive that is both active and passive. This article seeks to interrogate the socio-psychological aspects of selfies taken at Holocaust memorial sites and of their subsequent shaming. We wish to juxtapose current research findings with the public audience's reaction to these photos after they have been posted on social media. In many respects, commenters may offer insight into a larger phenomenon outside of what is deemed appropriate in terms of Holocaust memory. Our article may not provide solutions or easy answers, but this is not our goal. Rather, our research aims to point to the complex, often uncomfortable, nature of this topic due to the fact that selfies encapsulate both micro and macro histories, reality and virtual reality, and a shift in traditional types of memory formation. [ABSTRACT FROM AUTHOR]

This article is focused on the production and design of the self by upper-secondary school students in Mexico from the standpoint of the practice of taking a selfie. Based on the observation of Instagram profiles, interviews, and a survey, I investigate the place that selfies have in the design and self-presentation of young people, paying particular attention to the epistemic practices they mobilize and the operations they carry out with social networks. The design and presentation of the self is based mainly on editing and appears as a constant exposition validated by others; this process shows that subjects are self-designed while they are a result of the design imposed by the social media platforms, so this design of the self does not call into question the hegemonic canons and hierarchies. [ABSTRACT FROM AUTHOR]

This article studies selfie-production as a socio-technological affective practice, bringing attention to a new and largely unstudied type of selfies, private selfies. Discussing an example of five Finnish women's experiences with a body positive #righttobeseen campaign, the article argues for selfie scholarship to move beyond analyses of representation and image-sharing on social media platforms, if it is to understand selfies' diverse role in selfie-takers' lives. The article offers an analytical schema for studying selfies as socio-technological affective practices, combining the method of interview studies with affect theory and examination of selfies' socio-technological underpinnings. [ABSTRACT FROM AUTHOR]

Taking selfies has become one of the major photographic trends of our time. In this study, we focus on the selfie stick, on which a camera is mounted to take selfies. We observe that a camera on a selfie stick typically travels through a particular type of trajectory around a sphere. Based on this finding, we propose a robust, efficient, and optimal estimation method for relative camera pose between two images captured by a camera mounted on a selfie stick. We exploit the special geometric structure of camera motion constrained by a selfie stick and define this motion as spherical joint motion. Utilizing a novel parametrization and calibration scheme, we demonstrate that the pose estimation problem can be reduced to a 3-degrees of freedom (DoF) search problem, instead of a generic 6-DoF problem. This facilitates the derivation of an efficient branch-and-bound optimization method that guarantees a global optimal solution, even in the presence of outliers. Furthermore, as a simplified case of spherical joint motion, we introduce selfie motion, which has a fewer number of DoF than spherical joint motion. We validate the performance and guaranteed optimality of our method on both synthetic and real-world data. Additionally, we demonstrate the applicability of the proposed method for two applications: refocusing and stylization. [ABSTRACT FROM AUTHOR]

Exploring the power of self-representation in the form of selfies as an affirmation-based practice, the artist transforms her frustrations with self-identification through a "trans*glitchi performance," and practices queer self-representation and self-portraiture through the use of selfies as a medium to challenge LatinX identity and representation. [ABSTRACT FROM AUTHOR]

This article examines 'instaworthiness' as a classificatory category in discourses of place-making. It engages in social-semiotic analyses of the selfies clicked at instaworthy cafes and pubs in Kolkata to highlight how the photographic performativity of selfie-taking reconfigures the notions of placemaking. It accounts for: how is an 'instaworthy' spot made and consumed? What ramifications does showcasing the self within these specific sites have upon perceptions of identity, both of the self and the space in question? In locating photographic practices of selfies within the wider shifts of the heuristics of 'instaworthiness', this article teases out how the self interacts with a diverse range of non-human actors toward conferring visual apartness upon certain spaces. Thus, producing and circulating selfies as a performance warrant thinking through how discourses of the self and that of spatiality co-constitute each other. [ABSTRACT FROM AUTHOR]

Drawing on an ethnographic investigation of the selfie practice, this article aims to understand the relationships between intimacy and affective experiences produced in everyday photography through different digital platforms. From the accounts presented, I discuss the sharing of affection and intimacy from family and love relationships, body performances and exchanges of intimate selfies commonly called nudes. It is demonstrated that an affective experience is part of the construction of the selfie as a practice, involving itself with the daily use of platforms, entangled with data, multiple bodies, digital materialities, emotions and different modulations of intimacy. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A selfie, as a form of self-presentation, is known to display an "ideal" self. Selfies publicly posted on Instagram were analyzed to see if the size of faces in selfies affects the perceived privacy boundary between selfie takers and viewers, and eventually leads to social media users' negative evaluation toward selfies. The data showed that close-up selfies were associated with fewer likes received from other users, while full shot selfies received more likes. Meanwhile, influencers with a high number of followers moderated the perception of privacy boundaries. Theoretical and practical implications of these phenomena are also discussed. [ABSTRACT FROM AUTHOR]

Copyright of Liño: Revista Annual de Historia del Arte is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Naked loan selfies are a Chinese Internet phenomenon in which naked selfies taken by young women are used as a form of collateral in peer-to-peer loaning systems. Despite being the subject of sensationalised media coverage in China, naked loan selfies have so far received only very limited academic attention. Drawing on the new materialist ontologies of Karen Barad and Annemarie Mol, this article investigates naked loan selfies as techno-social entities that are enacted through specific online networks and practices. The article uses text-based research and online walkthroughs to trace the way naked loan selfies are constituted first as collateral, and second as pornography. As well as providing insight into an under-researched online phenomenon, this article contributes to the growing body of work on selfies as networked, lively and agentic. [ABSTRACT FROM AUTHOR]

The use of filters and editing tools for perfecting selfies is increasing. While some aesthetic experts have touted the ability of this technology to help patients convey their aesthetic goals, others have expressed concerns about the unrealistic expectations that may come from the ability for individuals to digitally alter their own photos in these so-called "super-selfies." The aim of the study is to determine the changes that individuals seek when enhancing selfies. Twenty subjects participated in this study between July 25 and September 24, 2019. Subjects had two sets of headshots taken (neutral and smile) and were provided an introduction on the use of the Facetune2 app. Subjects received a digital copy of their photographs and were asked to download the free mobile app. After 1 week of trialing the different tools for enhancing their appearance, subjects submitted their self-determined most attractive edited photographs. Changes in marginal reflex distance (MRD) 1 and 2, nose height and width, eyebrow height, facial width, skin smoothness, skin hue, and saturation as well as overall image brightness were recorded. Paired two-tailed t -test was used to evaluate pre- and post-facial measurements. There were no statistically significant changes identified in the analysis of the altered photos in neutral expression. Analysis of all smiling photographs revealed that subjects increased their smile angle (right: +2.92 mm, p  = 0.04; left: +3.58 mm, p  < 0.001). When smiling photographs were assessed by gender, females were found to significantly increase their MRD2 (right: +0.64 mm, p  = 0.04; left: +0.74 mm, p  = 0.05) and their smile angle (right: +1.90 mm, p  = 0.03; left: +2.31 mm, p  = 0.005) while also decreasing their nose height (−2.8 mm, p  = 0.04). Males did not significantly alter any of the facial measurements assessed. This study identifies the types of changes that individuals seek when enhancing selfies and specifies the different aspects of image adjustment that may be sought based on a patient's gender. [ABSTRACT FROM AUTHOR]

The article argues that the (new) media landscape of the European border regime rehearses colonial and slavocratic tropes often excised from canonical narratives of Fortress Europe, namely the fungibility of the other's body and self. By discussing examples of (feigned) refugee self-representation, I demonstrate how the ostensible oppositionality of race and racial thinking (primitive past) and technology (modern future) fundamentally erodes in the European border regime while contributing to the further erasure of those most harshly targeted by it. The examined self-representations are caught in fungibility as the gaze of the other is circumvented by a proxy, instituting a relation of substitution that inherently depends on the erasure of the racialized subject for the purpose of White enjoyment. [ABSTRACT FROM AUTHOR]

Given the widespread phenomenon of selfies, numerous studies are examining the motivations behind taking and sharing selfies. The current paper suggests an additional possible motivation, namely, decreasing death anxiety. People are motivated to decrease their death anxiety by preserving a fake feeling of immortality. One known way to achieve this goal is by using photography. Therefore, we suggest that selfie behaviors are a way to fulfill the need to remain immortal. A hundred undergraduate students (Mage = 22.33) answered self-reported questionnaires regarding selfie motivations, selfie-taking frequency, selfie-sharing frequency, and death anxiety. All of those selfie measurements were indeed positively related to death anxiety. Moreover, many previous studies suggested that narcissism motivates selfie behaviors. In an exploratory approach, we examined whether death anxiety mediates this relationship. Indeed, death anxiety fully mediated the relationships between narcissism and selfie motivations and between narcissism and selfie-taking frequency, suggesting that the well-documented association between selfie behaviors and narcissism might be driven by death anxiety. Those preliminary results indicate that death anxiety is associated with selfie behaviors, opening new avenues for understanding the motivations underlying selfie behaviors. [ABSTRACT FROM AUTHOR]

Social Networking Sites (SNS) user behavior has been discussed in association with SNS user personality characteristics, such as narcissism. However, gender and cultural influences on the relationship between selfie posting on SNS and narcissism remain unclear. Thus, the present study included gender and culture to investigate the relationship between narcissism and selfie posting using 232 Japanese and 481 American college students. The main findings include: (a) while the data failed to show a significant difference in level of narcissism across culture, significant gender differences were found in each culture; (b) our data show no significant difference in the number of selfies across culture/gender or level of narcissism; (c) self-esteem moderated the relationship between narcissism and the number of selfies for American male college students. [ABSTRACT FROM AUTHOR]

Aim: The study aims to identify significant personality predictors of selfie-taking behavior among college and school-going students. Methods: The sample size consists of 50 boys and 50 girls (n = 100) between the age range of 16-23 years from various schools and colleges of Delhi NCR. The tools used in the study were Cattell's 16 Personality Factors and Selfitis Behavior Scale. Results: The results of the study depicted a positive correlation of selfitis behavior with perfectionism and sensitivity. However, self-reliance, reasoning, and emotional stability showed a negative correlation with selfitis behavior. Furthermore, the results of the study showed that girls have more selfitis behavior as compared to boys and the college group have more selfitis behavior than that of the school group. ANOVA and linear regression were used to analyze data. Conclusion: Social media is the strongest tool of communication nowadays. "Selfies" are a growing social networking technique for self-disclosure. Use of social media is focusing on the physical aspect and allowing posting and amending pictures that are creating concerns about body image, poor self-esteem, loneliness, and depression among students. The overall results suggest that while selfies provide individuals with the potential of enhancing self-disclosure, they also demonstrate some risky and unhealthy behaviors. Therefore, predicting personality traits could be considered an effective variable to sensitize them before the deterioration of their mental health. [ABSTRACT FROM AUTHOR]

Selfie posting is now a well-established practice, particularly for young women. However, it is nevertheless much maligned in popular discourses. As a counterpoint to digital narcissism, selfie posting is also constituted as relational. This Q methodological study explored how young women make sense of selfie practices. Twenty-seven young women aged 18–23 sorted a set of statements about selfies into a quasi-normal grid. These sorts were factor analysed to identify shared patterns. Four factors were identified which were subsequently analysed qualitatively, producing a narrative for each. These included (1) 'Presenting... Me!', (2) 'I am what I am', (3) 'Sharing is caring' and (4) 'The In-crowd – beautiful and popular'. The complexity of identity curation evidenced in this study highlights the importance of moving beyond both polarised characterisations and the pathologisation of young women selfie takers in order to explicate the interplay between normative femininities and the digital self. [ABSTRACT FROM AUTHOR]

That 'a picture can stimulate a thousand words' aptly summarises the role of the visual in the field of language learning and teaching. The power of the image to generate language output has been widely acknowledged in the field of second/foreign language acquisition. Posters, diagrams, symbols and pictures are often found in language classrooms; illustrations and photos cohabit with the target language in textbooks. The relationship, however, between the lingual and the visual tends to be one of asymmetry. The visual tends to be held in lower regard and thought of as 'dispensable embellishment' (Millard, E. and J. Marsh. [2001]. Words with pictures: the role of visual literacy in writing and its implication for schooling. Literacy (Formerly Reading) 35, no. 2: 54–61: 55. DOI:10.1111/1467-9345.00162) especially when the learner has acquired a certain level of linguistic competence. Instead of focusing on the 'thousand words', this initial exploration into examining the verbal–visual interplay uses the 'picture', in the form of the selfie, as heuristic device. It draws insights from visual research approaches and digital communication studies to analyse the relationship between the verbal and the visual. Results point to a counter-reading of the selfie. It is suggested that using this digital self-portrait of the twenty-first century as talking point in an English fluency exercise has brought about unexpected findings – the strengthening of personal relations in the classroom and self-reflexivity among the students – aspects that are not often associated with the traditional use of visual 'aids'. It is proposed that current understanding of the 'lingual' can be enriched by bringing the 'visual' back into the frame. [ABSTRACT FROM AUTHOR]

The communication power of the social network Instagram is important to address due to its relaxed nature of presenting details from the ordinary lives of individuals. A comparison of the manners in which influencers and politicians represent themselves brings to front a changed dynamic of social power, as it is available online to anyone who can persuade followers to identify with them or to wish to do so in the future. Two ways of identification with an influencer are assumed, namely increasing and decreasing of distance between them and their followers. The text focuses on the latter, where politicians approach the people by showing the banality of their everyday lives. After reviewing the profiles of two Slovenian politicians, a noticeable pattern is that they most often do so with photographs of puppies and kittens. [ABSTRACT FROM AUTHOR]

Popular discourse describing selfies as the "narcissistic"2 practice of teenagers or a tool of personal empowerment, minimize the structural constraints under which selfies operate as a ubiquitous mode of sociality. Based on focus group discussions in two Canadian cities, we explore how young adults describe their selfie experiences and explore three discursive tensions expressed in the transcripts. First, how questions of "control" were taken up; second, how "visibility" was understood as fragile, and animated by an anxiety of invisibility; third, the nature of "fun" that selfies generate. We conclude by exploring some of the epistemological shifts that these practices indicate. [ABSTRACT FROM AUTHOR]

Selfie (self portrait) is both a discourse and a global phenomenon (Day, 2014; Veum and Undrum, 2017). as a phenomenon, selfie action has attracted the attention of researchers (Zhao and Zappavigna, 2017) to examine the selfie from the various perspective. Objectification against women has also become the focus in research from various disciplines. However, so far there have not many researches on the objectification of hijabed women's selfie. Hijabed women face the tension between religious norms and the desire for self-actualization in the virtual realm. A piece of cloth called "Hijab" brings the consequences of conduct for the wearers. This article discusses about the selfie objectification as representation of hijabed women in Instagram. Do they contribute to reproduce and sustain a representation of piety or are they constructed an alternative representation? This article analyzes selfie photos of hijabed women and captions using objectification theory and selfie objectificaton. This study uses social semiotics approach from Theo van Leeuwen which discusses representational meaning, interactional meaning, and compositional meaning. Selfie photos are selected based on celebrity on Instagram account or selebgram (Ind). They are @laudyacynthiabella, @zaskiasungkar15 and @dianpelangi. They are celebrity in offline and celebrity on Instagram. The account are choosen because they have over 4 million followers. Hijabed women posted selfie as a representation and selfactualization in Instagram to get recognition. Instagram is considered as a spaces that can sustain a discourse of piety. When they construct a piety self, they also objectify themselves. Selfie objectification is done to attract the attention of followers. Selfie objectification is done to facilitating their business. [ABSTRACT FROM AUTHOR]

Human behaviors are deeply influenced by technology. In the present research, two studies were conducted to examine the relationship between narcissism and selfie taking on social networking sites in China. Study 1 showed that selfie taking was not significantly related to narcissism, neither maladaptive nor adaptive. Study 2 revealed no significant difference in maladaptive narcissism under the selfie and control conditions, whereas those under the selfie (vs. control) conditions reported greater adaptive narcissism. The current findings demonstrate that nonharmful effect of online social networking, suggesting that sociocultural and psychological factors should be concerned in understanding human behavior in the era of Internet. [ABSTRACT FROM AUTHOR]

This paper positions the photographic image of the self (the 'selfie') as the reflexive indicator on which students are prompted to reveal their learning behaviours, and uses this mode of reflexivity to construct a qualitative study of engagement in a higher education setting. The study leverages the intensified processes of self –reflection created by the novel forms of convergence across the social landscape in which the selfie is embedded, to reveal how oppositional and indexical selfie-reflective practices can operate to uniquely connect behaviours to learning in this sector. [ABSTRACT FROM AUTHOR]

The present study investigates questions that involve the problematic of the identity in contemporary photographic portraits. Self-portraits are analyzed to discuss the fragility of identities from an artistic production called the Limits of the Daphne, which is composed of a series of appropriate images of the Internet, more specifically selfportraits, selfies. The gesture of self-photographing is approached as an act of identity construction, seeking a theoretical basis in authors who reflect on this theme, such as Annateresa Fabris and Joan Fontcuberta. [ABSTRACT FROM AUTHOR]

This study aims to provide insights on personal branding and impression management practices in the context of selfie production and sharing on online social networking sites (oSNSs). The theoretical framework of the study was constructed according to Goffman's 'Dramaturgy Theory' and Belk's 'Digital Extended Self' theory. Four constructs; de-materialization of photography, co-construction of the self, sharing economy of digital media and online social networks, and distributed memory were included in the study. The results of the literature review were further explained according to the production and consumption of selfies. This study provides detailed information about how selfies can be used as a mediator for purposes of self-extension and personal branding. Even though selfies are seen as an everyday activity and a raw presentation of the subject, they also include extra contextual information about the subject. The results of the study exert that selfies shared online can be used as a tool for impression management in oSNSs. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Smart photography carries the promise of quality improvement and functionality extension in making aesthetically appealing pictures. In this article, we focus on self-portrait photographs and introduce newmethods that guide a user in how to best pose while taking a selfie. While most of the current solutions use a post processing procedure to beautify a picture, the developed tool enables a novel function of recommending a good look before the photo is captured. Given an input face image, the tool automatically estimates the pose-based aesthetic score, finds the most attractive angle of the face, and suggests how the pose should be adjusted. The recommendation results are determined adaptively to the appearance and initial pose of the input face. We apply a data mining approach to find distinctive, frequent itemsets and association rules from online profile pictures, upon which the aesthetic estimation and pose recommendation methods are developed. A simulated and a real image set are used for experimental evaluation. The results show the proposed aesthetic estimation method can effectively select user-favorable photos. Moreover, the recommendation performance for the vertical adjustment is moderately related to the degree of conformity among the professional photographers' recommendations. This study echoes the trend of instant photo sharing, in which a user takes a picture and then immediately shares it on a social network without engaging in tedious editing. [ABSTRACT FROM AUTHOR]

This study proposes an understanding of the selfie as a self-representation device, which modifies the symbolic interaction between the self and society. Besides, the relevance of Goffman's and Benjamin's conceptual frame will be evaluated. Both authors understood in some way that the actor had an identity in flux. The analysis of the selfie from the perspectives of Benjamin and Goffman allows to comprehend the complexity of the fragmentation of the self. The selfie promises symbolic interaction, characterized by the loss of uniqueness, asynchrony and the fragmentation of self. [ABSTRACT FROM AUTHOR]

This article argues that contemporary selfie-practice sometimes display patterns that have otherwise been associated with religion. Selfies manifesting ideals, or with a more crude description bragging-selfies, can be shown to deliver transcendence to users of social media. These representations transcend the object, the corporeal and temporal, and for those entering wholly into their frame of reference, also the self. In a situation of competition for likes, selfietakers end up providing the gaze of the other themselves, resulting in a self-creating subject. These selfies can be understood as ideal icons, which the selfie-practitioner is the first to desire and consume. [ABSTRACT FROM AUTHOR]

Selfie photography from the hand-held camera is becoming a popular media type. Although being convenient and flexible, it suffers from low camera motion stability, small field of view, and limited background content. These limitations can annoy users, especially, when touring a place of interest and taking selfie videos. In this paper, we present a novel method to create what we call a BiggerSelfie that deals with these shortcomings. Using a video of the environment that has partial content overlap with the selfie video, we stitch plausible frames selected from the environment video to the original selfie frames and stabilize the composed video content with a portrait-preserving constraint. Using the proposed method, one can easily obtain a stable selfie video with expanded background content by merely capturing some background shots. We show various results and several evaluations to demonstrate the applicability of our method. [ABSTRACT FROM AUTHOR]

This study examined the relationship between dimensions of narcissism and selfie posting/sending frequency and other self-promoting behaviors on social media. Participants ( N  = 124) completed an online survey of narcissistic traits and social media use. Global narcissism was significantly correlated with numerous social media behaviors, including frequency of selfie posting, perceived attractiveness of selfies, tag/comment/like behaviors, as well as variables specific to individual social media platforms. Among narcissism dimensions, Grandiose Exhibitionism exhibited the most consistent association with social media behaviors. The Leadership/Authority dimension generally demonstrated the weakest correlations with selfie posting/sending frequency and other social media behaviors. Additionally, PROCESS analyses revealed that traits reflecting global narcissism, Grandiose Exhibitionism, and Entitlement/Exploitativeness were associated with selfie posting/sending frequency through a motivation for others to show interest and admiration. Implications for this research and future directions are discussed. [ABSTRACT FROM AUTHOR]

Purpose The purpose of this study is to understand the values consumers pursue and roles consumers partake in selfie practice.Design/methodology/approach A qualitative research method was adopted. In-depth interviews were conducted with selfie enthusiasts. Data were analyzed with grounded theory approach.Findings Diverse activities and reflections pertaining to selfies were analyzed, which uncovered three consumer roles departmentalized and the nine values that selfie practice generates for consumers. The three roles are subject, photographer and user of selfies, and the roles are orchestrated together or selectively performed if necessary. In consequence of the interplay of performances and expectations of the roles, consumers pursue and gain four collaboratively created values and five individually created values.Originality/value Findings of the study expand the understanding of values of selfie practice and consumer roles in Web 2.0. [ABSTRACT FROM AUTHOR]

Abstract Selfies are omnipresent, yet quantitative research on the topic is sparse. Selfies are a form of self-expression; but selfie-taking also shapes the selfie-taker's self. We argue that taking selfies in a place strengthens selfie-takers’ identification with that place. In three experimental studies (two-group post-test comparison design), the control group took pictures of a place (Studies 1 & 2: university; Study 3: city), whereas the experimental group took selfies in that place. Place identification was higher in the selfie condition than in the control condition (Study 1). Task enjoyment moderated the effect of taking selfies on place identification (Studies 2 & 3). However, not all sub-dimensions (i.e., affective, cognitive, and conative) of place identification were equally affected by the selfie-task across contexts. Our results suggest that taking selfies in a place can strengthen the linkage between selfie-takers and places. The effect can reverse for individuals who do not enjoy taking selfies. Highlights • Taking selfies in a specific place influences a person's place identification. • This effect is positive for individuals who enjoy taking selfies. • The effect can reverse for individuals who do not enjoy taking selfies. • The effect was replicated in closed (university) and open space (city) settings. • In diverse contexts, selfie-taking affects different place identification aspects. [ABSTRACT FROM AUTHOR]

Background: Selfie deaths have become an emerging problem and we performed this study to assess the epidemiology of selfie-related deaths across the globe. Subject and Methods: We performed a comprehensive search for keywords such as “selfie deaths; selfie accidents; selfie mortality; self photography deaths; koolfie deaths; mobile death/accidents” from news reports to gather information regarding selfie deaths. Results: From October 2011 to November 2017, there have been 259 deaths while clicking selfies in 137 incidents. The mean age was 22.94 years. About 72.5% of the total deaths occurred in males and 27.5% in females. The highest number of incidents and selfie-deaths has been reported in India followed by Russia, United States, and Pakistan. Drowning, transport, and fall form the topmost reasons for deaths caused by selfies. We also classified reasons for deaths due to selfie as risky behavior or non-risky behavior. Risky behavior caused more deaths and incidents due to selfies than non-risky behavior. The number of deaths in females is less due to risky behavior than non-risky behavior while it is approximately three times in males. Conclusion: “No selfie zones” areas should be declared across tourist areas especially places such as water bodies, mountain peaks, and over tall buildings to decrease the incidence of selfie-related deaths. [ABSTRACT FROM AUTHOR]

Dr. Ana Peraica was born into a family of photographers. Her grandfather, as well as her father after him, run a family photo studio Atelier Perajica on the main square of Diocletian's palace in Split, Croatia. The studio went into Ana's hands, and she still works there herself today. Besides running the business, her main focus is photographic theory, more precise the field of contemporary arts, visual culture studies and media theory. It is very thought-provoking to see how her background and studio practice influenced her research and vice versa. In her writings she focuses on networked society, strategies of anonymity and pseudonymity, parallel hyper-narratives etc. She currently works on her new book Postdigital Arcadia in which she focuses on changes in the post digital photography (eg. aerial images and 360 images), and reflects upon the changes brought about by new visual language on our perception of reality. We spoke also about her last published book The Culture of the Selfie, an important survey on this particular contemporary phenomenon. [ABSTRACT FROM AUTHOR]

Social media may provide new opportunities to promote skin cancer prevention, but research to understand this potential is needed. In April of 2015, Kentucky native Tawny Willoughby (TW) shared a graphic skin cancer selfie on Facebook that subsequently went viral. We examined the volume of comments and shares of her original Facebook post; news volume of skin cancer from Google News; and search volume for skin cancer Google queries. We compared these latter metrics after TWs announcement against expected volumes based on forecasts of historical trends. TWs skin cancer story was picked up by the media on May 11, 2015 after the social media post had been shared approximately 50,000 times. All search queries for skin cancer increased 162% (95% CI 102 to 320) and 155% (95% CI 107 to 353) on May 13th and 14th, when news about TW's skin cancer selfie was at its peak, and remained higher through May 17th. Google searches about skin cancer prevention and tanning were also significantly higher than expected volumes. In practical terms, searches reached near-record levels - i.e., May 13th, 14th and 15th were respectively the 6th, 8th, and 40th most searched days for skin cancer since January 1, 2004 when Google began tracking searches. We conclude that an ordinary person's social media post caught the public's imagination and led to significant increases in public engagement with skin cancer prevention. Digital surveillance methods can rapidly detect these events in near real time, allowing public health practitioners to engage and potentially elevate positive effects. [ABSTRACT FROM AUTHOR]

Due to the development of social media, posting one's photos is becoming increasingly popular; they often take the form of, so called, 'selfie'. The phenomenon of photographing oneself has also occurred in cultural institutions, including museums. The museums are implementing various strategies of reacting to people taking pictures of themselves with exhibits at the background. The article presents an analysis of these reactions, and, based on that, various ways of defining the functions and role of the contemporary museum. The author also attempts to provide an answer to the following question: is posting photographs by visitors an element of creating their own image ('the Culture of Narcissism'), or is it rather a form of interaction with heritage, of a dialogue with the presented contents ('remix culture')? [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Taking a selfie as a social phenomenon is a way that people try to feel better about themselves. Selfies say us something important about the people who take them, and then share them and offer useful insights into the uses of social media in general. It seems that young Kuwaitis are obsessed with taking selfies. Young Kuwaitis, especially females, do not feel good about themselves and how they look. They are very concerned about their online self-image. These young Kuwaitis, especially females, are in danger because their self-esteem is bound to the 'comments' and 'likes' they receive when they post selfies. It can be said that young Kuwaitis, especially females, are narcissists. It is apparent that narcissistic individuals would be keener than others to take selfies, edit those pictures, post the most attractive ones on social media, keep track of the 'likes' and 'comments' for those pictures, and get worried when they do not get the desired feedback. [ABSTRACT FROM AUTHOR]