Abstract | The research explores the social phenomenon of selfie practice as a way of communication in social media networks, hypothesizing False Self representation in the image presented by everyman and his smartphone. The phenomenon includes posting the selfie on social networks (SN) to make a person available to the public eye, in this way, feeding the self-esteem or narcissistic hunger, and as such being bought or sold in the currency of “likes.” As much as selfie is an interesting phenomenon of self-portrait in the new technology era, a tool for self-awareness and building up the self-esteem, the problems of society are mirroring in this self-image: it serves as a platform for amplification of personality disorders and addiction on selfie and feedbacks from SN, it is a cause of accidental mortality (unintentional deaths while making selfie, most often occurrences are falling off the high places, train accidents, and drowning) and an increase of facial plastic surgeries in the USA (FlorCruz, as cited in Shah & Tewari, 2016). Alternately, it seems the selfie has a higher purpose in use among minorities, LGBT society, and other marginal layers of society (Lang, 2013) who use it as affirmation, identification, proof of existence and belonging. Feminists, similarily, use the selfie as a statement where the woman is the manifest and the subject of the photograph. Feminists are well aware that their body alone can serve as a message of feminism, in the case of selfie the message is private – carries the name and the identity of a certain woman in the selfie, and general – a feminist setting the statement to general public. Changing the urban landscape, is selfie showing our True Self or a pose for the public eye exhibiting a superimposed image based on our belief of good looks influenced by pop-culture? |
Abstract (croatian) | Ovo istraživanje bavi se fenomenom prakse selfija kao načina komunikacije na socijalnim mrežama, postavljajući hipotezu reprezentacije Lažnog Selfa u ovoj slici sebe. Fenomen uključuje izradu i objavljivanje fotografije na socijalnim mrežama kako bi osoba postala dostupna oku javnosti, hraneći samopouzdanje ili narcisističku glad, i kao takva bila prodavana i kupovana u valuti lajkova. Koliko god je selfi interesantna pojava autoportreta u eri nove tehnologije i alat za postizanje samopouzdanja, u njemju se ogledaju problemi društva: selfi služi kao platforma za amplifikaciju poremećaja u ponašanju i ovisnosti o selfi praksi te odgovorima sa socijalnih mreža; uzrok je smrti u nesrećama nastalima tijekom izrade selfija (najčešće pad s visina, željezničke nesreće i utapanja) i povećanje broja facijalnih plastičnih operacija u SAD-u (FlorCruz, prema Shah & Tewari, 2016). Međutim, selfi služi i za postizanje viših ciljeva među manjinama, LGBT populaciji i drugim marginalnim slojevima društva (Lang, 2013) koji ga koriste kao alat za samopotvrđivanje, identifikaciju te kao dokaz postojanja i pripadanja. Potpuno svjesne da tijelo samo može služiti kao poruka, feministice, također, koriste selfije kao formu u kojoj je lik žene i manifest i tema fotografije. Selfi tako dobiva dvojnu ulogu: postaje privatna poruka o identitetu određene ženske osobe i generalna poruka koja sadrži feminističku izjavu upućenu javnosti. Mijenjajući urbani pejzaž, pokazuje li selfi naš Pravi Self ili postavljenu pozu koja predstavlja nametnutu sliku našeg uvjerenja o ljepoti, formiranog prema parametrima pop kulture? |
Study programme | Title: Postgraduate specialist study Creative therapies; specializations in: Art therapy, Dance movement therapy, Music therapy, Dramatherapy Course: Art therapy Study programme type: university Study level: postgraduate specialist Academic / professional title: Sveučilišni specijalist kreativne terapije, smjer art terapije (Sveučilišni specijalist kreativne terapije, smjer art terapije) |