Selfie Made

HOW DO I MAKE IT BIG ON SOCIAL MEDIA? WHAT IS MY STORY—AND WHO IS MY AUDIENCE? WHAT CONTENT SHOULD I POST TO ACHIEVE #SUCCESS? HOW DO I GO VIRAL...OR HOW LONG WILL IT TAKE ME TO GET NOTICED? Selfie Made is a one-of-a-kind guide to creating a digital identity, finding an audience, and building a powerful brand—your own!—on the Internet. Whether you want to be in front of or behind the camera, produce click-worthy content or start your own business, this book is the place to begin. Written by Meridith Valiando Rojas, the hugely successful (and super friendly IRL) founder of DigiTour who has worked with every major star from YouTube to Musical.ly, this collection of personal anecdotes and professional advice, tricks of the trade and behind-the-screen secrets, will give you everything you need for your social media toolkit. Here, you’ll get to know the true stories behind some of today’s most successful multimedia stars and influencers, including: Max And Harvey - Blake Gray - Danielle Cohn Bryce Xavier - Lauren Godwin - Nathan Triska Trevor Moran - Messy Monday - Simon Britton ...and others who learned the ropes, beat the odds, and took social media by storm. And so can you!

This volume explores the selfie not only as a specific photographic practice that is deeply rooted in digital culture, but also how it is understood in relation to other media of self-portrayal. Unlike the public debate about the dangers of 'selfie-narcissism', this anthology discusses what the practice of taking and sharing selfies can tell us about media culture today: can the selfie be critiqued as an image or rather as a social practice? What are the technological conditions of this form of vernacular photography? By gathering articles from the fields of media studies; art history; cultural studies; visual studies; philosophy; sociology and ethnography, this book provides a media archaeological perspective that highlights the relevance of the selfie as a stereotypical as well as creative practice of dealing with ourselves in relation to technology.

The most hilarious, charming, realistic story of middle-grade friendships you'll ever read, from Megan McCafferty, the mega bestselling, beloved author of Sloppy Firsts. Twelve-year-old Ella has everything she needs to take seventh grade by storm, from the perfect outfit to the perfect new best friend. She's still not 100% sure why cool, confident Morgan has chosen Ella to be her newest sidekick, but Ella is flattered by the attention, even if it means giving up some of the things she's always loved, like fantasy novels . . . and her former best friend, Sophie. Ella feels a little guilty about ditching Sophie, but middle school is no laughing matter, and Ella knows that it'll be safer in popular Morgan's shadow than by Sophie's side.But life as Morgan's best friend is trickier than Ella imagined. Everything has to be perfect, from their "on brand" selfies to the videos they record of them singing. And the more demanding Morgan becomes, the more Ella starts to wonder if she made the right choice. But Sophie already has a new best friend, leaving Ella feeling more alone and out of place than ever.So when Ella discovers a new activity that she's really good at -- a hopelessly dorky sport that Morgan has forbidden her from pursuing, Ella has to ask herself what matters more: popularity . . . or staying true to herself? But does she even know who she really is without loyal Sophie by her side?

Defining the Chief Executive via flash powder and selfie sticks Lincoln’s somber portraits. Lyndon Johnson’s swearing in. George W. Bush’s reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama’s selfies to tell the stories of how presidents have participated in the medium’s transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs—as representations of leaders who symbolized the nation—sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it.

A nuanced, feminist, and deeply personal take on beauty culture and YouTube consumerism, in the tradition of Maggie Nelson’s Bluets As Daphné B. obsessively watches YouTube makeup tutorials and haunts Sephora’s website, she’s increasingly troubled by the ways in which this obsession contradicts her anti-capitalist and intersectional feminist politics. In this poetic treatise, she rejects the false binaries of traditional beauty standards and delves into the celebrities and influencers, from Kylie to Grimes, and the poets and philosophers, from Anne Boyer to Audre Lorde, who have shaped the reflection she sees in the mirror. At once confessional and essayistic, Made-Up is a meditation on the makeup that colours, that obscures, that highlights who we are and who we wish we could be. The original French-language edition was a cult hit in Quebec. Translated by Alex Manley—like Daphné, a Montreal poet and essayist—the book’s English-language text crackles with life, retaining the flair and verve of the original, and ensuring that a book on beauty is no less beautiful than its subject matter. “The most radical book of 2020 talks about makeup. Radical in the intransigence with which Daphne B hunts down the parts of her imagination that capitalism has phagocytized. Radical also in its rejection of false binaries (the authentic and the fake, the futile and the essential) through the lens of which such a subject is generally considered. With the help of a heady combination of pop cultural criticism and autobiography, a poet scrutinizes her contradictions. They are also ours.” —Dominic Tardif, Le Devoir “[Made-Up] is a delight. I read it in one go. And when, out of necessity, I had to put it down, it was with regret and with the feeling that I was giving up what could save me from a catastrophe.” —Laurence Fournier, Lettres Québécoises, five stars "Made-Up is a radiant, shimmering blend of memoir and cultural criticism that uses beauty culture as an entry point to interrogating the ugly contradictions of late capitalism. In short, urgent chapters laced with humor and wide-ranging references, Daphné B. plumbs the depths of a rich topic that’s typically dismissed as shallow. I imagine her writing it in eye pencil, using makeup to tell the story of her life, as so many women do." —Amy Berkowitz, author of Tender Points "A companion through the thicket of late stage capitalism, a lucid and poetic mirror for anyone whose image exists on a screen." —Rachel Kauder Nalebuff "Made-Up is anything but—committed to the grit of our current realities, Daphné B directs her piercing eye on capitalism in an intimate portrayal of what it means to love, and how to paint ourselves in the process. Alex Manley has gifted English audiences with a nuanced translation of a critical feminist text, exploring love and make-up as a transformative social tool." —Sruti Islam "The book will leave you both laughing in recognition and wincing at the reality of the beauty world’s impact on our collective psyche." —Chatelaine "[Made-Up] examines the intersection of beauty culture and consumer culture... Aided by the work of writers like Anne Carson, Anne Boyer, Amanda Hess, and Arabelle Sicardi... B. makes sharp observations about the ideologies behind both beauty [...] and consumerism." —Bitch Media "Made‑Up: A True Story of Beauty Culture under Late Capitalism is well worth reading." —Literary Review of Canada "[Made-Up], newly translated by writer/poet Alex Manley from its original French, puts an intersectional, feminist lens on the author’s personal fascination with the makeup industry; it also reckons with the cultural dominance of this fascination as she aims to square anti-capitalist principles with beauty-product obsession." —BitchReads: 11 Books Feminists Should Read in September

Does the Internet Have an Unconscious? is both an introduction to the work of Slavoj Žižek and an investigation into how his work can be used to think about the digital present. Clint Burnham uniquely combines the German idealism, Lacanian psychoanalysis, and Marxist materialism found in Žižek's thought to understand how the Internet, social and new media, and digital cultural forms work in our lives and how their failure to work structures our pathologies and fantasies. He suggests that our failure to properly understand the digital is due to our lack of recognition of its political, aesthetic, and psycho-sexual elements. Mixing autobiographical passages with critical analysis, Burnham situates a Žižekian theory of digital culture in the lived human body.

This book addresses how digitalization has influenced the institutions, practitioners and audiences of diplomacy. Throughout, the author argues that terms such as ‘digitalized public diplomacy’ or ‘digital public diplomacy’ are misleading, as they suggest that Ministries of Foreign Affairs (MFAs) are either digital or non-digital, when in fact digitalization should be conceptualized as a long-term process in which the values, norms, working procedures and goals of public diplomacy are challenged and re-defined. Subsequently, through case study examination, this book also argues that different MFAs are at different stages of the digitalization process. By adopting the term ‘the digitalization of public diplomacy’, this book will offer a new conceptual framework for investigating the impact of digitalization on the practice of public diplomacy.

Photography’s prominence in the representation and experience of India in contemporary and historical times has not guaranteed it a position of sustained attention in research and scholarship. For a technology as all pervasive as photography, and a country as colossal as India, this scenario is somewhat of an anomaly. Photography in India explores elements of the past, present and future of photography in the context of India through speculation and reflection on photography as an artistic, documentary and everyday practice. The perspectives of writers, theorists, curators and artists are selectively brought to bear upon known as well as previously unseen photographic archives, together with changes in photographic practice that have been synchronous with contemporary India’s rapid urban and rural transformation and the technological shift from chemistry and light to programming and algorithms. Essential reading for anyone interested in Indian photography, this book binds insights into a history of photography with its contemporary development, consolidating wide-ranging thinking on the topic and setting the agenda for future research.