Projects - Part 4

Image Credit - Ian Meechan

Project 1: 'The digital self'

Read some blogs on the digital self at Link 3

Understanding and Creating Your Digital Self

The article "Understanding and Creating Your Digital Self" from Psychology Today discusses the concept of the "digital self," which refers to individuals' persona when engaging with technology and the online world.

Drawing on Donald Winnicott's theory of the "true self" and "false self," the article suggests that while the true self represents our instinctive core, the false self acts as a protective facade.

In the digital age, the digital self can serve as either an extension of the true self or a manifestation of the false self, depending on how authentically one engages online.

The rapid proliferation of technologies—such as email, social media platforms, and smartphones—has introduced new challenges and opportunities in how individuals express and perceive their identities.

The article highlights various scenarios where the digital self plays a significant role, including:

• Relationships initiated or affected through online platforms.

• The impact of cyberbullying on adolescents' mental health.

• The flexibility for single parents to work from home due to digital advancements.

• The consequences of impulsive digital communications, such as "drexting" (drunk texting).

The author emphasises the importance of reflecting on one's digital self to ensure it aligns with the true self, promoting integrity and wholeness in online and offline interactions.

The Existential Crisis of Digital Identity

The article "The Existential Crisis of Digital Identity" from Psychology Today explores the misconception of digital permanence and its psychological implications. Contrary to popular belief, digital content is not eternal; websites disappear, links become inactive, and online identities can vanish unexpectedly. 

This impermanence significantly challenges our understanding of digital selves as social media has evolved from informal sharing among friends to meticulously curated content for broader audiences, including family, employers, and algorithms. This shift has emphasised impression management, where individuals carefully shape their online personas to meet diverse expectations. 

Recognising the transient nature of digital data can help manage anxiety related to online identities. Our attachment styles influence how we engage with our digital selves, suggesting that a thoughtful approach to digital identity can enhance well-being and relationships without becoming a defining factor. 

Conclusion:

To conclude, the article encourages a balanced perspective on digital identity, acknowledging its impermanence and advocating for its use as a tool to enrich life rather than define it.

Image Credit - Ian Meechan

Project 2: The Gaze in the Digital Age

Read Jackie Stacey’s essay ‘Desperately Seeking Difference’ (1988), reproduced in Evans & Hall (1999) Visual Culture: The Reader, London: Sage, pp.390–401. You’ll find this on the student website (PH5DIC_Visual Culture_Desperately Seeking Difference).

This article was written around the time that the possibility of a ‘female gaze’ was proposed to counterpoint that of the ‘male gaze’.

Jackie Stacey’s essay “Desperately Seeking Difference” (1988) critically analyses how women in visual culture, especially in film and media, are represented and how these representations intersect with the concept of the female gaze. Stacey critiques the historical and cultural dominance of the male gaze in film theory, particularly building on Laura Mulvey’s influential work positioning how women are objects for male spectatorship. However, Stacey pushes beyond Mulvey’s analysis by asking what it means for women to view themselves through a gendered lens and how a female gaze might differ from or resist this dominant visual paradigm.

Stacey’s discussion of the female gaze deeply embeds questions of difference. She explores how the visual culture that caters to women often reinforces traditional gender norms and opens up spaces for subversion. Rather than simply reversing the power dynamic (where women actively “gaze” at men in the same objectifying way men have historically viewed women), Stacey explores more nuanced forms of visual pleasure. The female gaze can be understood as an approach to seeing that challenges the objectifying tendencies of the male gaze. It offers a way of looking that emphasises identification, empathy, and a reworking of the traditional power structures inherent in looking.

A crucial part of Stacey’s analysis is the notion of “difference” in the female experience. She argues that women do not form a monolithic group, and the experiences of viewing visual culture vary widely across lines of race, class, and sexual orientation. This diversity complicates attempts to define a singular female gaze. Stacey’s essay calls attention to the intersectionality of the female spectator’s experience, proposing that a broader, more inclusive framework is needed to understand how women engage with visual culture.

Conclusion:

In conclusion, Stacey’s exploration of the female gaze challenges simplistic gendered-looking readings. She highlights how the gaze is shaped by a complex web of identity factors, opening up possibilities for a gaze that is not just oppositional to the male gaze but actively reconfigures the act of seeing in ways that can challenge and destabilize normative power relations.

Image Credit - Ian Meechan

Project 3: Similar but Different: Memes, Cloning and Replication

• Read Limor Shifman’s essay ‘The Cultural Logic of Photo-Based Meme Genres’ in Journal of Visual Culture, December 2014, Vol.13(3), pp.340–58, at Link 4

• The global Occupy movement made extensive use of images. In ‘Occupy the Image’ Liam Devlin discusses the image of US police officer John Pike, who was originally photographed pepper-spraying a group of protestors at the University of California in 2011. Pike has become an internet meme; cut out of the original photograph, he has found his way into various famous images of conflict and struggle and other celebrated artworks. Link 5

Limor Shifman

In her essay “The Cultural Logic of Photo-Based Meme Genres,” published in the Journal of Visual Culture (December 2014), Limor Shifman comprehensively analyses the evolving role of photo-based memes in digital culture. The essay delves into the complex cultural logics that drive their popularity and spread. It offers valuable insights into Limor Shifman and how memes function as creative expressions and social commentary within online communities.

Shifman begins by contextualising the rise of photo-based memes, mainly focusing on image macros (e.g., the “Distracted Boyfriend” meme) and their intersection with broader social media trends. She argues that these memes are more than just fleeting entertainment; they represent a distinctive visual culture that reflects and shapes contemporary social, political, and cultural realities.

One of the essay’s key contributions is its exploration of the specific genres within photo-based memes. Shifman categorises these memes into different types—such as the “Advice Animals” and “Reaction Pics” genres—and explores the stylistic and thematic consistencies that define each. This genre-based approach helps demonstrate how memes, while highly versatile and adaptable, follow certain conventions grounded in collective online participation.

Moreover, Shifman draws on cultural studies and theories of intertextuality to show how memes often engage in a dialogic relationship with existing cultural references, images, and symbols. The importance highlights how meme creation is not purely a spontaneous or individual act but rather a collective process shaped by shared cultural references and expectations.

The essay also touches on the role of humour in photo-based memes. Shifman suggests that humour plays a critical role in spreading these memes, with its often ironic, absurd, or subversive quality making them especially engaging to digital audiences. This humour also serves as a mechanism for critique, allowing people to address complex issues such as identity, power, and social norms in a way that feels accessible and relatable.

Finally, Shifman examines the broader implications of meme culture, considering how photo-based memes contribute to forming online communities and digital identities. She argues that they foster new forms of belonging and participation as meme creators and consumers engage in collaborative meaning-making processes. Reflecting a more significant shift in digital culture from passive consumption to active participation.

Conclusion:

In conclusion, Shifman’s essay is an insightful and thorough analysis of the cultural logic behind photo-based memes. Her examination of meme genres, intertextuality, humour, and social engagement provides a nuanced understanding of how memes function within digital culture, offering readers a deeper appreciation for their role in contemporary communication and identity formation.

Liam Devlin

In "Occupy the Image," Liam Devlin explores the iconic image of US police officer John Pike, who was captured pepper-spraying a group of peaceful protestors at the University of California, Davis, during the Occupy movement in 2011. This photograph became emblematic of the tensions between state authority and grassroots activism. Devlin's analysis delves into how this image was not only a documentation of an event but also a critical site for contesting power, representation, and the dynamics of digital media. His discussion centres on how internet culture transformed the image, evolving from a news photograph into a viral meme that radically altered its interpretation and impact.

Devlin begins by situating the original image within the context of the Occupy movement, a global protest against economic inequality that gained momentum in 2011. The photograph of Pike, taken by Louise Macabitas, depicts him casually pepper-spraying seated protestors, embodying a stark power imbalance between the police and the demonstrators. Devlin argues that the image encapsulates the militarization of law enforcement and the excessive use of force, which were central concerns of the movement. The image's initial circulation through news outlets sparked outrage and became a visual rallying point for critics of police brutality. However, Devlin is particularly interested in the image's second life on the internet, where it became a meme, undergoing a significant transformation in meaning.

The mummification of the John Pike image is a critical focus of Devlin's essay. Once the photograph began circulating online, countless internet users appropriated and edited it, often placing Pike in absurd or anachronistic scenarios, such as spraying famous historical figures, artworks, or fictional characters. These alterations detached the image from its original context, and the figure of Pike became a symbol of arbitrary power and authoritarianism, no longer tied solely to the UC Davis incident. Devlin argues that this meme culture represents a form of digital resistance where humour and satire are used to undermine and mock the authorities. Yet, he also recognizes the potential dangers of this transformation, as the internet's tendency to trivialize can dilute the severe political implications of the original event. The question then becomes: does this meme culture subvert the power structures the image critiques, or does it risk depoliticizing the act of protest altogether?

Another key aspect of Devlin's analysis is the role of the internet in democratising the circulation and interpretation of images. Before the digital age, photographs like this would be mediated primarily through traditional news outlets, where editors and journalists would shape the narrative. In contrast, the viral spread of the John Pike image reflects the decentralization of media in the digital age, where anyone with internet access can become both a consumer and producer of content. Devlin suggests this shift empowers individuals to challenge official narratives but complicates the image's authority. As the image is remixed and decontextualized, it questions authorship and control over visual representation. Who controls an image's meaning once it enters the vast, fluid world of digital culture?

Conclusion:

In conclusion, Devlin's essay on the image of John Pike pepper-spraying protestors highlights the complex interplay between photography, power, and digital media in the modern era. The photograph's transition from documentation to meme illustrates how images can become contested sites of meaning, where multiple interpretations compete for dominance. While the mummification of the image allowed for a form of grassroots resistance, it also raised questions about the efficacy and seriousness of such digital activism. Devlin's analysis prompts readers to consider how images, especially in the internet age, can be powerful tools for resistance and vulnerability to trivialization. Ultimately, "Occupy the Image" offers a nuanced reflection on the evolving role of visual media in political protest and how power is represented and challenged through images

Image Credit - Ian Meechan

Project 4: The Selfie Revisited: Testimony or Trophy?

• Read Susan Sontag’s essay ‘Regarding the Torture of Others’ at Link 7

• Read Alise Tifentale’s essay ‘Making Sense of the “Masturbation of Self-Image” and the

“Virtual Mini-Me” ’ at Link 8 This is published by a research group based in New York called Selfie City. See Link 9

Susan Sontag - Regarding the Torture of Others

In "Regarding the Torture of Others," Susan Sontag examines the disturbing images of prisoner abuse at Abu Ghraib, bringing to light the moral and ethical crises revealed through photography. Her essay critiques the implications of capturing and sharing such images, exposing the cruelty depicted and questioning society's desensitization to suffering when seen through the lens of a camera. Sontag argues that these images function as a "spectacle," distorting our perception of reality and reducing suffering to a consumable product. This distance, she suggests, dilutes empathy, turning viewers into passive consumers rather than active responders to injustice.

Sontag's analysis further challenges how images and photography reflect a societal acceptance of domination and control. She asserts that the existence of such photos reflects a normalized culture of dehumanization and moral decay, suggesting that the casual capture of torture scenes indicates a collapse in moral accountability. Her comparison to the photographs of lynchings in the American South underscores her point; these images were not just personal records but acted as symbols of systemic brutality, openly shared and even celebrated by onlookers. This historical link reinforces her argument that, by capturing and distributing images of suffering, society reinforces a power dynamic in which certain groups are subjugated and stripped of dignity.

Conclusion:

In conclusion, ultimately, Sontag's essay serves as a call for moral reflection on both the impact of these images and the viewer's responsibility. She challenges readers to question the content of disturbing images and the very act of viewing them. In an era where visual media pervades everyday life, Sontag's reflections prompt us to consider how images can either deepen empathy or erode it, pushing us to respond actively to suffering rather than passively consuming it as mere content. Her essay remains relevant, urging critical examination of how society interacts with images of pain and the ethical implications of their widespread dissemination.

Alise Tifentale - the Masturbation of Self-Image

Alise Tifentale's essay, Making Sense of the "Masturbation of Self-Image"," sharply analyzes the rise of selfie culture and its pervasive influence on contemporary identity and self-perception. Her provocative phrasing, equating selfie culture to the "masturbation of self-image," immediately frames the phenomenon as one of self-indulgence and performative self-reflection, perhaps even isolation.

Tifentale highlights the duality inherent in selfies: on the one hand, they are democratizing tools, allowing anyone with a smartphone to participate in a global dialogue about identity, appearance, and social presence. On the other, selfies expose a deep-seated need for external validation, a mechanism through which people use platforms to seek attention and affirmation, often in shallow or repetitive ways. This is akin to self-obsession, where users repeatedly cultivate and curate images that may appear genuine but are usually constructed to evoke envy or admiration from others. The term "masturbation" becomes metaphorically fitting, as it suggests an act that is self-contained, self-satisfying, and devoid of external connection or true intimacy.

One of the essay's most compelling points is its analysis of the social pressure to conform to idealized norms. Tifentale suggests that while selfies might seem like personal expressions, they are often guided by the collective, unspoken standards of beauty and desirability fostered by popular culture. Thus, while the selfie may empower self-expression, it also binds the individual to a "mass production" of self-images, where one's brand becomes a product influenced by global trends rather than authentic individualism.

Tifentale's essay also addresses the tension between authenticity and performance, raising questions about the future of self-representation in digital spaces as more people rely on platforms that inherently reward attractive, engaging images over complex or nuanced self-expression and the line between self and image blurs. This commentary highlights her view that constantly crafting these idealized images can lead to identity fatigue, where the endless pursuit of a digital self leaves little space for personal growth offline.

Conclusion:

Tifentale's work encourages us to rethink the role of the selfie as more than mere documentation of the self. Instead, she suggests it reflects societal values, insecurities, and aspirations. By critiquing the culture around self-imaging, the essay encourages readers to question the depth of their interactions with these images and to seek more meaningful connections beyond the screen.

Project 5: Sexualised Images

The Selfie Paradox: Navigating the Landscape of Sexualised Imagery in Social Media

Introduction:

In the era of digital connectivity, social media platforms have become ubiquitous in our daily lives, influencing how we perceive ourselves and others. One prevalent trend that has emerged is the proliferation of sexualised imagery, with the selfie being a prominent vehicle for self-expression. While the selfie can serve as a means of empowerment and self-confidence, it also raises concerns about the perpetuation of unrealistic beauty standards and the objectification of individuals.

Empowerment and Expression:

At its core, the selfie is a self-portraiture form allowing individuals to curate their online identity. For many, sharing intimate or sensual images is a conscious act of empowerment, challenging societal norms and reclaiming control over one's image. In this context, sexualised selfies can be seen as a form of self-expression, enabling individuals to celebrate their bodies and identities in a space that often dictates rigid beauty standards.

Perpetuating Unrealistic Beauty Standards:

However, the prevalence of sexualised imagery in social media raises concerns about the impact on body image and self-esteem. Constantly exposing carefully crafted images may reinforce unrealistic beauty standards, fostering a culture of comparison and insecurity. As individuals strive to emulate the perceived perfection of influencers and celebrities, the authentic essence of self-expression through the selfie overshadows the pursuit of an idealised image.

Objectification and Social Consequences:

As we navigate the complex landscape of sexualised imagery today, it is essential to strike a balance between self-expression and societal responsibility. Embracing one's sexuality and body positivity is valid, but it is equally vital to be mindful of the potential impact on oneself and others. Open conversations about consent, respect, and the consequences of perpetuating unrealistic standards can help foster a healthier digital environment.

Conclusion:

The selfie, as a tool for self-expression, holds the power to challenge societal norms and celebrate individuality. However, the fine line between empowerment and perpetuating harmful beauty standards requires thoughtful consideration. By fostering a culture of authenticity, consent, and respect in social media, we can ensure that the selfie remains a powerful means of self-expression without compromising the well-being and dignity of individuals in the digital age.

Case Study

The Advertising Standards Authority (ASA) is the UK’s independent advertising regulator. The ASA makes sure ads across UK media stick to the advertising rules (the Advertising Codes).

The Committee of Advertising Practice (CAP) is the sister organisation of the ASA and is responsible for writing the Advertising Codes. The ASA and CAP are committed to regulating in a way that is transparent, proportionate, targeted, evidence-based, consistent and accountable.

Source: Advertising Standards Authority

Case Study 1: An Analysis of Cadbury's Flake adverts from 1950 to today regarding sexualised imagery.

Cadbury's Flake advertisements have been known for their unique and often sensual approach to marketing the chocolate bar. The use of sexualised imagery in Flake commercials has been a prominent and consistent theme since the 1950s, and it has evolved over the years. Here's a general analysis of how these advertisements have changed from the 1950s to today in terms of sexualised content:

1950s-1960s:

The early Flake advertisements from the 1950s and 1960s were relatively subtle in their use of sexualised imagery. They often featured elegant, sophisticated women sensually enjoying the chocolate. The focus was on the indulgence and pleasure of eating a Flake rather than explicit sexual suggestions.

1970s-1980s:

During this period, the sexualised imagery in Flake's adverts became more overt. The iconic "Crumbliest, Flakiest Chocolate" tagline was introduced, and commercials started depicting women sensuously enjoying the chocolate, often in idyllic and romantic settings. The ads argued that eating a Flake was a personal, intimate experience.

1990s:

The 1990s saw an even more explicit approach to sexualised imagery in Flake adverts. The commercials often featured women in picturesque landscapes, engaging in activities like bathing or relaxing while sensually eating a Flake. The focus on the tactile and indulgent nature of eating a Flake remained central.

2000s:

In the 2000s, Flake commercials continued using sensuality, introducing a playful and cheeky tone. The advertisements became more self-aware, acknowledging and even parodying the use of sexualised imagery in their campaigns. There was an emphasis on the enjoyment of the chocolate in a light-hearted and fun manner.

2010s-Present:

In recent years, there has been a shift towards more diverse representations of women in Flake adverts. While sensuality is still present, the focus has expanded to include women of different ages, ethnicities, and body types. The commercials highlight a broader range of personal and joyful moments associated with eating a Flake.

Truth and Consequences: Cadbury Flake Adverts: Banned advert 2010

In 2010, the decision to ban Cadbury's Flake advertisement stemmed from concerns about its overtly explicit and suggestive content, deemed too risqué for broadcast standards. The advertisement depicted the character resembling the Devil. It featured three women provocatively eating a Flake chocolate bar thrown to them by the male character, raising eyebrows and generating public controversy. Critics argued that the ad objectified women and was inappropriate for a broad audience, especially considering its potential to be viewed by children. Consequently, regulatory bodies took action to uphold community standards and maintain the integrity of televised advertising by prohibiting the broadcast of the Flake commercial due to its perceived explicit nature.

Image Screenshots (YouTube) cited below

Case Study 2: Comparing WeChat to Western social media.

WeChat and Western social media platforms differ, including cultural influences, user demographics, and features. When comparing them concerning selfies, there are some notable distinctions:

Image Credits WeChat Mobile (cited below(

Cultural Influences:

WeChat (China): Selfies are widely popular in China, and WeChat is a prominent platform for sharing them. In Chinese culture, taking and sharing selfies is expected in addition to various beauty-enhancing filters and features.

Western Social Media (e.g., Facebook, Instagram, Snapchat): Selfies are also popular in the West, but the cultural approach might differ. While selfie culture is prevalent, there may be variations in the types of poses, filters, and beauty standards compared to those in China.

Features and Filters:

WeChat: WeChat provides filters, beauty enhancements, and features specifically designed for selfies. Users can easily retouch and enhance their photos within the app before sharing them.

Western Social Media: Platforms like Instagram and Snapchat also offer a range of filters and editing tools. However, these tools' cultural preferences and beauty standards may differ from those on WeChat.

Social Dynamics:

WeChat: WeChat is a multifunctional app that goes beyond social media; it's also widely used for messaging, payments, and other services. The social dynamics on WeChat may involve closer-knit groups of friends, family, and colleagues.

Western Social Media: Platforms like Instagram focus on public sharing, emphasising building a personal brand or online persona. The dynamics may involve a more comprehensive network of followers, including acquaintances and strangers.

Privacy Concerns:

WeChat: China's approach to privacy may differ from that in the West, and WeChat has faced scrutiny for its data practices. Users might have different expectations regarding privacy when sharing selfies on WeChat.

Western Social Media: Privacy concerns are also present in Western social media, but the regulatory environment and user expectations may shape the handling of personal data differently.

Monetisation and E-Commerce:

WeChat: WeChat integrates various functionalities, including e-commerce and payments. Selfies may be associated with shopping experiences, as users can showcase products or purchase directly within the app.

Western Social Media: While e-commerce is present on platforms like Instagram, the integration may not be as seamless or extensive as on WeChat.

While both WeChat and Western social media platforms embrace the selfie culture, differences in cultural norms, platform features, and social dynamics contribute to distinct experiences regarding sharing and interacting with selfies.

Conclusion:

The use of sexualised imagery in Cadbury's Flake adverts has sparked both praise and criticism. On the one hand, it has contributed to the brand's distinctive and memorable image. On the other hand, some argue that such marketing perpetuates stereotypes and objectification. The evolving nature of these advertisements reflects changing societal norms and expectations.

It's important to note that interpretations of these advertisements can vary, especially between male and female interpretations, and individual perceptions of what is considered sexualised may differ. Additionally, public opinion and advertising standards evolve, influencing the content and tone of commercials. Cadbury's has adapted its marketing strategies like other brands to align with contemporary values and consumer expectations.

References:

1960s Flake Ad - possibly banned, 2009.

1992 Cadbury Flake “Bath” TV commercial, directed by Nick Lewin at Lewin & Watson, 2016.

Cadbury bans Flake ad from screens after deeming it too racy | Daily Mail Online [WWW Document], n.d. URL https://www.dailymail.co.uk/tvshowbiz/article-1255749/Cadbury-bans-Flake-ad-screens-deeming-racy.html (accessed 1.6.24).

Cadbury Flake New Ad, 2010.

Cadbury’s - Flake - Woman In Canoe - Waterfall - UK Advert, 2007.

Cadbury’s Flake - Anti-Gravity (2002, UK), 2019.

Cadbury’s Flake - Summer Rain (2007, UK), 2014.

Cadbury’s Flake - Temptation (2010, UK, BANNED), 2018.

Cadbury’s Flake Advert, 2019.

Cadbury’s Flake advert - 1985, 2007.

Cadburys Flake Advert 1960, 2019.

Cadbury’s Flake Advert (1988), 2017.

Cadbury’s Flake: Deliciously Terrifying, 2010.

Cadbury’s Flake drops “Only the flakiest...” strapline after 50 years | Advertising | The Guardian [WWW Document], n.d. URL https://www.theguardian.com/media/2010/jun/02/cadburys-flake-ad (accessed 12.22.23).

Cozens, C., 2001. ASA clears Cadbury ad of sexual innuendo. The Guardian.

Drenten, J., Gurrieri, L., Tyler, M., 2019. How highly sexualised imagery is shaping ‘influence’ on Instagram - and harassment is rife [WWW Document]. The Conversation. URL http://theconversation.com/how-highly-sexualised-imagery-is-shaping-influence-on-instagram-and-harassment-is-rife-113030 (accessed 2.5.25).

Flake Advert 1970s, 2022.

Lowe, D.P.-A., Potter, H., Wilks, J., 2023. Sexual imagery in advertising: where do you draw the line? [WWW Document]. Lexology. URL https://www.lexology.com/library/detail.aspx?g=b1074cac-539b-420e-931c-6db20a729f0a (accessed 12.22.23).

Papageorgiou, A., Fisher, C., Crossa, D., 2023. “It just Sends the Message that you’re Nothing but your body” a Qualitative Exploration of Adolescent Girls’ Perceptions of Sexualized Images on Social Media. Sexuality & Culture 27, 462–481. https://doi.org/10.1007/s12119-022-10022-6

Practice, A.S.A.| C. of A., n.d. 04 Harm and offence [WWW Document]. URL https://www.asa.org.uk/type/non_broadcast/code_section/04.html (accessed 12.22.23).

The Danger of Posting Sexualized Content on Social Media | Psychology Today Australia [WWW Document], n.d. URL https://www.psychologytoday.com/au/blog/why-bad-looks-good/201809/the-danger-posting-sexualized-content-social-media (accessed 2.5.25).

Women with Cameras: Providing Erotic Entertainment for the Male Audience While Working as Photographers [WWW Document], 2023. . Alise Tifentale. URL http://www.alisetifentale.net/article-archive/womenwithcameras (accessed 2.5.25).