In this essay, I argue that the selfie involves a nuanced relationship between still and moving images – in that most selfies are still images but that in some senses they involve a ‘cinematic’ logic that wishes to convey movement and by extension power. For, mobility is possible only for those who can afford it, with selfies also often being used to connote the wealth or the would-be wealth of the taker. The essay then goes on to consider how selfies involve a sexual component which draws out how the proliferation of selfies bespeaks a desire for us not to multiply as humans, but to multiply images and to multiply oneself in images. This in turn would reaffirm how in the contemporary era cinema is the measure of reality as opposed to reality being the measure of cinema.
|Title of host publication||From Self-Portrait to Selfie|
|Subtitle of host publication||Representing the Self in the Moving Image|
|Editors||Muriel Tinel-Temple, Laura Busetta, Marlène Monteiro|
|Place of Publication||Oxford|
|Number of pages||253|
|Publication status||Published - 29 Mar 2019|