Feed your Self. Sulla colorizzazione del Sé nell’era del digitale

Autori

  • Anna Chiara Sabatino Università di Salerno

DOI:

https://doi.org/10.54103/2039-9251/18553

Abstract

At the time of Instagramism, social media profiles are characterized by recognizable and homogeneous visual theme. Following the spread of the filter culture which allows greater control over numerous chromo-luministic parameters, users are confronted with a normalization of the notions of editing and color correction before every contents’ online publication.

The content creators are capable to creatively make what Lev Manovich defines style of existence, using the post-production tools now maneuverable to achieve the desired representation. In a self-representative but social dispositif, the aesthetics of filter triggers chromatic characterizations and compositions such as the color grid.

The paper intends to deepen the theoretical and methodological relationship between the social self-representation and the chromatic practice, with particular attention to the ways in which the coloristic connotations led to pleasant and gratifying presentation of the Self on Instagram platform.

Riferimenti bibliografici

Banet-Weiser, S., AuthenticTM: Political Possibility in a Brand Culture, New York University Press, New York 2012.

Banet-Weiser, S., Arzumanova, I., Creative Authorship: Self-actualizing Individuals and the Self-brand, in C. Chris, D.A. Gerstner (ed. by), Media Authorship, Routledge, New York-Londra 2012, pp. 163-180.

Bellour, R., Fra le immagini. Fotografia, cinema, video, trad. it. V. Costantino, di Mondadori, Milano 2007.

Bollmer, G., Guinness, K., Phenomenology for the Selfie, in “Cultural Politics”, 13/2, 2017, pp. 156-176.

Branigan, E., Tracking Color in Cinema and Art: Philosophy and Aesthetics, Routledge, New York 2017.

Burgess, J., Green, J., The Entrepreneurial Vlogger: Participatory Culture Beyond the Professional-Amateur Divide, in P. Snickars, P. Vondereau (ed. by), The YouTube Reader, National Library of Sweden, Stockholm 2009, pp. 89-107.

Busetta, L., L’autoritratto. Cinema e configurazione della soggettività, Mimesis Edizioni, Milano 2019.

Bussard, K.A., Full Spectrum: Expanding the History of American Color Photography, in K.A. Bussard, L. Hostetler (ed. by), Color Rush: American Color Photography from Stieglitz to Sherman, Aperture Foundation, New York 2013.

Calabrese, O., L’arte dell’autoritratto: storia e teoria di un genere pittorico, La casa Usher, Firenze 2010.

Casetti, F., Mediascape: un decalogo, in P. Montani, D. Cecchi, M. Feyles (a cura di), Ambienti mediali, Meltemi, Milano 2018, pp. 111-138.

Cavell, S., The World Viewed: Reflections on the Ontology of Film, Harvard University Press, Massachussets 1979.

Cervellini, F., La griglia, in “XY”, 4/8, 2020, pp. 8-23.

Chester, A., The Outmoded Instant: From Instagram to Polaroid, in “Afterimage: The Journal of Media Arts and Cultural Criticism”, 45/5, 2018, pp. 10-15.

Cubitt, S., Digital Aesthetics, Sage, London 1998.

Id., The Practice of Light: A Genealogy of Visual Technologies from Prints to Pixels, MIT Press, Cambridge 2014.

Enticknap, L., Moving Image Technology: From Zeotrope to Digital, Wallflower Press, Londra 2005.

Everett, W. (ed. by), Questions of Colour in Cinema: From Paintbrush to Pixel, Peter Lang, New York 2007.

Fallon, K., Streams of the Self: The Instagram Feed as Narrative Autobiography, in “Interactive Film & Media Journal”, 1/2, 2021, pp. 100-116.

Fossati, G., From Grain to Pixel: The Archival Life of Film in Transition, Amsterdam University Press, Amsterdam 2009.

Foucault, M., The History of Sexuality, Volume I: An Introduction, Random House, New York 1978.

Frosh, P., Selfies| The Gestural Image: The Selfie, Photography Theory, and Kinesthetic Sociability, in “International Journal of Communication”, 9/22, 2015, pp. 1607-1628.

Giusti, S., Immagine-atto/immagine-arto: la fotografia come protesi tra performance e comportamento nell’era della condivisione con le fotocamere in rete, in “Mediascapes Journal”, 12, 2019, pp. 23-40.

Gunthert, A., Viralité du selfie, déplacements du portrait, in «L’Atelier des icônes», 31 dicembre 2013, in http://histoirevisuelle.fr/cv/icones/2895, consultato il 18 gennaio 2022.

Hess, A., The Selfie Assemblage, in “International Journal of Communication”, 9/18, 2015, pp. 1629-1646.

Higgins, H., The Grid Book, Mit Press, Cambridge, 2009.

Higgins, S., A New Colour Consciousness: Colour in the Digital Age, in “Convergence”, 9/4, 2003, pp. 60-76.

Horst, H.A., Aesthetics of the Self: Digital Mediations, in D. Miller (ed. by), Anthropology and the Individual: A Material Culture Perspective, Routledge, London 2009, pp. 99-113.

Hostetler, L., Real Color, in K. A. Bussard, L. Hostetler (ed. by), Color Rush: American Color Photography from Stieglitz to Sherman, Aperture Foundation, New York 2013.

Khamis, S., Ang, L., Welling, R., Self-branding,‘micro-celebrity’ and the rise of Social Media Influencers, in “Celebrity Studies”, 8/2, 2017, pp. 191-208.

Krauss, R., Grids, in “October”, 9, 1979, pp. 51-64.

Leaver, T., Highfield, T., Abidin, C., Instagram: Visual Social Media Cultures, John Wiley & Sons, Cambridge 2020.

Magli, P., Il volto raccontato. Ritratto e autoritratto in letteratura, Raffaello Cortina Editore, Milano 2016.

Manovich, L., Instagram and Contemporary Image, 2017, available at: http://manovich.net/index.php/projects/instagram-and-contemporary-image.

Id., The aesthetic society: or how I edit my Instagram 1, in P. Mörtenböck, H. Mooshammer (ed. by), Data Publics: Public Plurality in an Era of Data Determinacy, Routledge, London 2020.

Misek R., Chromatic Cinema: A History of Screen Color, Wiley-Blackwell, Oxford 2010.

Murray, S.E., New Media and Vernacular Photography: Revisiting Flickr, in M. Lister (ed. by), The Photographic Image in Digital Culture, Routledge, London 2013, pp. 179-196.

Nancy, J.-L., Il ritratto e il suo sguardo, trad. it. di R. Kirchmayr, Cortina Raffaello, Milano 2002.

O’Meara, J., Digital Color Technologies: Color Grading, Restoration, Archives and Criticism, in “Teaching Media Quarterly”, 9/1, 2021, pp. 1-15.

Pontévia, J.-M., Ogni dipintore dipinge sé, Écrits sur l’art et pensée détachées, vol. 3, William Blake & Co., Bordeaux 1986.

Ramos-Serrano, M., Martínez-García, Á., Personal style bloggers: the most popular visual composition principles and themes on Instagram, in “Observatorio (OBS*)”, 10/2, 2016, pp. 89-109.

Rascaroli, L., Young, G., Monahan, B. (ed. by), Amateur Filmmaking: The Home Movie, the Archive, the Web, Bloomsbury Publishing, USA 2014.

Rettberg, J.W., Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to See and Shape Ourselves, Palgrave Macmillan, London 2014.

Rosenberg, H., The American action painters, in “Art News”, 51/8, 1952, pp. 22-23.

Sabatino, A.C., L’amautore. Note sull’autorialità amatoriale, in “Imago”, 25, 2022, di prossima pubblicazione.

Id., In materia di autoritratto amatoriale, in “Esercizi Filosofici”, 15, 2020, pp. 177-191.

Sayad, C., Performing Authorship: Self-Inscription and Corporeality in the Cinema, I.B. Tauris, London 2013.

Schleser, M., Connecting through Mobile Autobiographies: Self-Reflexive Mobile Filmmaking, Self-Representation, and Selfies, in M. Berry, M. Schleser (ed. by), Mobile Media Making in an Age of Smartphones, Palgrave Pivot, New York 2014, pp. 148-158.

Slack, J.D., Beyond transmission, modes, and media, in J. Packer, S.B. Crofts Wiley (ed. by), Communication Matters: Materialist Approaches to Media, Mobility, and Networks, Routledge, London 2011.

Street, S., Yumibe, J., Chromatic Modernity: Color, Cinema, and Media of the 1920s, Columbia University Press, New York 2019.

Tifentale, A., Manovich, L., Competitive Photography and the Presentation of the Self, in J. Eckel, J. Ruchatz, S. Wirth (ed. by), Exploring the Selfie: Historical, Theoretical, and Analytical Approaches to Digital Self-Photography, Palgrave Macmillan, London 2018, pp. 167-187.

Venzi, L., Tinte esposte. Studi sul colore nel cinema, Pellegrini, Cosenza 2018.

Villa, F., Filtered Self. Few Notes around Recent Self-Technologies, in L. Malavasi, S. Tongiani (ed. by), Technofobia and Technofilia in the Media, Art and Visual Culture, Aracne, Aprilia 2020, pp. 29-39.

Id., Numero, in Id. (ed. by), Vite impersonali. Autoritrattistica e medialità, Pellegrini, Cosenza 2013, pp. 137-161.

Zappavigna, M., Social media photography: construing subjectivity in Instagram images, in “Visual Communication”, 15/3, 2016, pp. 271-292.

##submission.downloads##

Pubblicato

2022-08-08

Fascicolo

Sezione

Color. Photography, Image, Reality (ed. by L. Bertelli, G. Gambaro, A. Mecacci, M. Sessa)