Author ORCID Identifier
https://orcid.org/0000-0002-7473-8812
Date of Award
Summer 8-17-2019
Degree Type
Dissertation
Degree Name
Doctor of Philosophy (PhD)
Department
Moving Image Studies
First Advisor
Alessandra Raengo
Second Advisor
Jennifer Barker
Third Advisor
Angelo Restivo
Fourth Advisor
Amy Herzog
Abstract
This dissertation examines technologies of self-mediation and their impact on contemporary visual culture. Since the standard inclusion of the forward-facing camera on the iPhone 4 in 2010, self-mediation has become a widespread form of digital media engagement. Approaching digital self-mediation as a durational event, this dissertation focuses on narrative films, or what I deem “narcisscinema,” and other serial aesthetic practices. In order to address the range of practices possible through technologies of self-mediation, I mobilize the various aesthetic aids through which narcissism has been approached in critical theory. Following an introduction in chapter one, chapter two “The Pool: Narcissism and the Moving Image,” establishes the use value of cinema as a mapping tool that exposes the affective complexity of self-mediation. Chapter three, “The Mirror: Narcissism as Affective Form,” analyzes Darren Aronfosky’s Black Swan (2010) as a poetics of narcissism, examining self-mediation as a disciplinary practice. Chapter four, “Play: Narcissism and Creative Invention,” reviews Deleuze’s reaffirmation of narcissism as a form of play, addressing forms of self-assertion that disrupt the faciality of contemporary selfie culture. Chapter five, “Allure: Narcissism and the Object,” extends this analysis further into a discussion of the incipient narcissism of western philosophy including the recent object-oriented philosophy. Here, I interpret object-oriented ontology as a philosophical form of self-mediation given its preoccupation with the human as object. While the first chapters consider contemporary films which reproduce the zeitgeist of contemporary digital culture by essentializing the mediated self as a white heteronormative female (thereby reproducing the ideal object of the gaze), the latter two chapters further develop a critical racial analysis of photo-sharing and social networking sites, arguing that digital visual culture underscores a formal notion of the subject that first emerged in Enlightenment aesthetic philosophy and always necessitates a problematic racial and gendered hierarchy. Finally, in the coda I examine Jenn Nkiru’s music video for Kamasi Washington’s “Hub Tones” (2018) as an alternative model of self-assertion which disrupts contemporary digital culture’s commerce in faces and its commodification of difference.
DOI
https://doi.org/10.57709/14984862
Recommended Citation
Gunn, Jenny, "Narcisscinema: Selfie Culture and the Moving Image." Dissertation, Georgia State University, 2019.
doi: https://doi.org/10.57709/14984862
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