VISUAL ESSAY: The Auteur and The Personal Comic: A Reconstruction of Online Identities

2020 ◽  
Vol 13 (2) ◽  
pp. 76-83
Author(s):  
Gideon K Frederick

When comic artist creates a personal comic, whose identities portrayed in the comic? Himself or his reconstructed image? More so, when the comic is published in social media, many viewers presumed that the comic is a mirror of the auteur life itself. This is where the constructed identities and real identities is reconstructed: negotiated, blurred between fiction and non-fiction.

Author(s):  
Jacqueline Ryan Vickery

This chapter critiques the ways privacy is constructed as an individual choice or responsibility and instead draws attention to the ways privacy and identity are collective and networked via social media. Through an analysis of the ways Facebook’s algorithms and user interface have changed over the years, the chapter traces how young people’s expectations and privacy practices are often at odds with commercial platforms. Additionally it considers how corporate platforms conceive of privacy from a privileged perspective that overlook the risks marginalized young people, and specifically people of colour, face online. Young people employ creative strategies for maintaining degrees of visibility including deliberate disassociation from peers and managing different online identities for different purposes and control of privacy.


2017 ◽  
Author(s):  
Tama Leaver

The moment of birth was once the instant where parents and others first saw their child in the world, but with the advent of various imaging technologies, most notably the ultrasound, the first photos often precede birth (Lupton, 2013). In the past several decades, the question is no longer just when the first images are produced, but who should see them, via which, if any, communication platforms? Should sonograms (the ultrasound photos) be used to announce the impending arrival of a new person in the world? Moreover, while that question is ostensibly quite benign, it does usher in an era where parents and loved ones are, for the first years of life, the ones deciding what, if any, social media presence young people have before they’re in a position to start contributing to those decisions. This chapter addresses this comparatively new online terrain, postulating the provocative term intimate surveillance, which deliberately turns surveillance on its head, begging the question whether sharing affectionately, and with the best of intentions, can or should be understood as a form of surveillance. Firstly, this chapter will examine the idea of co-creating online identities, touching on some of the standard ways of thinking about identity online, and then starting to look at how these approaches do and do not explicitly address the creation of identity for others, especially parents creating online identities for their kids. I will then review some ideas about surveillance and counter-surveillance with a view to situating these creative parental acts in terms of the kids and others being created. Finally, this chapter will explore several examples of parental monitoring, capturing and sharing of data and media about their children, using various mobile apps, contextualising these activities not with a moral finger-waving, but by surfacing specific questions and literacies which parents may need to develop in order to use these tools mindfully, and ensure decisions made about their children’s’ online presences are purposeful decisions.


2014 ◽  
pp. 71-83 ◽  
Author(s):  
Mikko Jäkälä ◽  
Eleni Berki

Social media and online communities offer increased possibilities for connection, interaction and participation but also new media with tools for self-presentation and identity management. Interacting anonymously or eponymously, having one, none or many identities online expresses richness in online communication. Contentious identities for communication are part of everyday online and offline interaction. The authors examine critically five types of online identity and analyse the differences, similarities, advantages, pitfalls, and disadvantages of using them. Examples illustrate the usage of these identity types, clarify possible misconceptions, and provide the reader with an improved understanding, increasing at the same time the usage awareness and knowledge on their distinctive features.


Author(s):  
Katherine Bridgman

This chapter examines the online identities of protestors and their transnational audiences that emerged across social media platforms during the Egyptian Revolution of 2011. Using the framework of assemblage theory, the authors argue that these online identities emerged as a result of the assemblages of dissent that formed between protestors and their audiences. In particular, they argue that, as protestors and their transnational audiences came together in assemblages of dissent, both gained emergent online identities as activists in the transnational mediatized event of the revolution. Protestors initiated these relationships through petitions for audiences to join the Facebook page “We are All Khaled Said” and follow the Twitter hashtag #Jan25; their catalogue of grievances against Mubarak’s regime; and, finally, their digital assertions of lived experiences of violence. As transnational audiences took up these texts as invitations to participate in the doing of this mediatized event, they responded by “liking,” commenting, retweeting, and creating new texts of their own. As a result, both protestors and their audiences around the globe gained online identities as activists in the revolution.


Author(s):  
Mikko Jäkälä ◽  
Eleni Berki

Social media and online communities offer increased possibilities for connection, interaction and participation but also new media with tools for self-presentation and identity management. Interacting anonymously or eponymously, having one, none or many identities online expresses richness in online communication. Contentious identities for communication are part of everyday online and offline interaction. The authors examine critically five types of online identity and analyse the differences, similarities, advantages, pitfalls, and disadvantages of using them. Examples illustrate the usage of these identity types, clarify possible misconceptions, and provide the reader with an improved understanding, increasing at the same time the usage awareness and knowledge on their distinctive features.


2015 ◽  
pp. 1487-1510
Author(s):  
Katherine Bridgman

This chapter examines the online identities of protestors and their transnational audiences that emerged across social media platforms during the Egyptian Revolution of 2011. Using the framework of assemblage theory, the authors argue that these online identities emerged as a result of the assemblages of dissent that formed between protestors and their audiences. In particular, they argue that, as protestors and their transnational audiences came together in assemblages of dissent, both gained emergent online identities as activists in the transnational mediatized event of the revolution. Protestors initiated these relationships through petitions for audiences to join the Facebook page “We are All Khaled Said” and follow the Twitter hashtag #Jan25; their catalogue of grievances against Mubarak's regime; and, finally, their digital assertions of lived experiences of violence. As transnational audiences took up these texts as invitations to participate in the doing of this mediatized event, they responded by “liking,” commenting, retweeting, and creating new texts of their own. As a result, both protestors and their audiences around the globe gained online identities as activists in the revolution.


Author(s):  
Inmaculada Gordillo

In the past, there was always a clear delineation between fiction and the news or fiction and documentary film. Today, however, elements of crossover and hybridization it can be observed in most formats: reality and fiction, public and private, are intermingled. Life itself seeps into fictional accounts, approaching the eternal comedy. Digital formats permit the multiplication of stories and the democratisation of productions. They create a true amalgam of new and old hybrid products, such that comedy also infuses the non-fiction content. Social change is convincingly reflected in the stories that each collective elaborates and consumes. Today, without question, audiovisual stories offer a clear, in-depth analysis of all the social transformations in which we currently find ourselves immersed, therefore this chapter offers an exploration of the novel formats that are extended into the stories that are told on television and on the internet.


2021 ◽  
Vol 60 ◽  
pp. 101582
Author(s):  
Anu Sirola ◽  
Markus Kaakinen ◽  
Iina Savolainen ◽  
Hye-Jin Paek ◽  
Izabela Zych ◽  
...  

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