FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM

Detalhes bibliográficos
Autor(a) principal: Costa, Thiago Lethi
Data de Publicação: 2019
Tipo de documento: Artigo
Idioma: por
Título da fonte: Palíndromo (Online)
Texto Completo: https://www.revistas.udesc.br/index.php/palindromo/article/view/12569
Resumo: What do we see in a photograph corresponds to reality? To be closer to an intimacy considered as credible it is possible due to selfie practice in recent years. However, what we see can be a performance of the daily life through the staged image (POIVERT, 2010) with spec-ificities of selfie (TIFENTALE, 2016) face of the (traditional) portrait. To exemplify this phenomenon with selfies an analysis is made of “Excellences and Perfections” by the artist Amalia Ulman who forges a narrative of her daily life through posts in the Instagram app. Through her work it is possible to elucidate how the (self)portrait/selfie can be ambiguous, putting the relationship between “real life” and the staged at stake.
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spelling FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAMForjando narrativas do eu através de registros de si: Amalia Ulman e sua encenação com selfies no Instagramretrato fotográficoencenaçãoselfieInstagramAmalia Ulmanphotographic portraitperformanceselfieInstagramAmalia UlmanWhat do we see in a photograph corresponds to reality? To be closer to an intimacy considered as credible it is possible due to selfie practice in recent years. However, what we see can be a performance of the daily life through the staged image (POIVERT, 2010) with spec-ificities of selfie (TIFENTALE, 2016) face of the (traditional) portrait. To exemplify this phenomenon with selfies an analysis is made of “Excellences and Perfections” by the artist Amalia Ulman who forges a narrative of her daily life through posts in the Instagram app. Through her work it is possible to elucidate how the (self)portrait/selfie can be ambiguous, putting the relationship between “real life” and the staged at stake.O que vemos em uma fotografia corresponde com a realidade? Com a prática das selfies nos últimos anos, foi possível estar mais próximo de uma intimidade tida como verossímil. Todavia, o que vemos pode ser uma encenação do cotidiano através da imagem encenada (POIVERT, 2010) com as especificidades da selfie (TIFENTALE, 2016) frente ao (autor)retrato tradicional moderno. Para exemplificar este fenômeno com as selfies é feita a análise de “Excellences and Perfections” da artista Amalia Ulman que forja uma narrativa de seu cotidiano através de postagens no aplicativo Instagram. O trabalho possibilita elucidar como o (autor)retrato/selfie pode ser ambíguo, colocando em jogo a relação entre “vida real” e o encenado.Universidade do Estado de Santa Catarina2019-06-06info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.revistas.udesc.br/index.php/palindromo/article/view/1256910.5965/2175234611242019137Palíndromo; Vol. 11 No. 24 (2019): Palíndromo; 137-151Palíndromo; v. 11 n. 24 (2019): Palíndromo; 137-1512175-23461984-953210.5965/2175234611242019reponame:Palíndromo (Online)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://www.revistas.udesc.br/index.php/palindromo/article/view/12569/10132Copyright (c) 2019 Palíndromohttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessCosta, Thiago Lethi2020-09-09T16:38:33Zoai:ojs.revistas.udesc.br:article/12569Revistahttps://www.revistas.udesc.br/index.php/palindromoPUBhttps://www.revistas.udesc.br/index.php/palindromo/oaipalindromorevista@gmail.com || revistapalindromo@udesc.br2175-23461984-9532opendoar:2020-09-09T16:38:33Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)false
dc.title.none.fl_str_mv FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM
Forjando narrativas do eu através de registros de si: Amalia Ulman e sua encenação com selfies no Instagram
title FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM
spellingShingle FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM
Costa, Thiago Lethi
retrato fotográfico
encenação
selfie
Instagram
Amalia Ulman
photographic portrait
performance
selfie
Instagram
Amalia Ulman
title_short FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM
title_full FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM
title_fullStr FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM
title_full_unstemmed FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM
title_sort FORGING STORYTELLING OF SELF THROUGH SELF-REGISTERS: AMALIA ULMAN AND HER PERFORMANCE WITH SELFIES ON INSTAGRAM
author Costa, Thiago Lethi
author_facet Costa, Thiago Lethi
author_role author
dc.contributor.author.fl_str_mv Costa, Thiago Lethi
dc.subject.por.fl_str_mv retrato fotográfico
encenação
selfie
Instagram
Amalia Ulman
photographic portrait
performance
selfie
Instagram
Amalia Ulman
topic retrato fotográfico
encenação
selfie
Instagram
Amalia Ulman
photographic portrait
performance
selfie
Instagram
Amalia Ulman
description What do we see in a photograph corresponds to reality? To be closer to an intimacy considered as credible it is possible due to selfie practice in recent years. However, what we see can be a performance of the daily life through the staged image (POIVERT, 2010) with spec-ificities of selfie (TIFENTALE, 2016) face of the (traditional) portrait. To exemplify this phenomenon with selfies an analysis is made of “Excellences and Perfections” by the artist Amalia Ulman who forges a narrative of her daily life through posts in the Instagram app. Through her work it is possible to elucidate how the (self)portrait/selfie can be ambiguous, putting the relationship between “real life” and the staged at stake.
publishDate 2019
dc.date.none.fl_str_mv 2019-06-06
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://www.revistas.udesc.br/index.php/palindromo/article/view/12569
10.5965/2175234611242019137
url https://www.revistas.udesc.br/index.php/palindromo/article/view/12569
identifier_str_mv 10.5965/2175234611242019137
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://www.revistas.udesc.br/index.php/palindromo/article/view/12569/10132
dc.rights.driver.fl_str_mv Copyright (c) 2019 Palíndromo
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2019 Palíndromo
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
dc.source.none.fl_str_mv Palíndromo; Vol. 11 No. 24 (2019): Palíndromo; 137-151
Palíndromo; v. 11 n. 24 (2019): Palíndromo; 137-151
2175-2346
1984-9532
10.5965/2175234611242019
reponame:Palíndromo (Online)
instname:Universidade do Estado de Santa Catarina (UDESC)
instacron:UDESC
instname_str Universidade do Estado de Santa Catarina (UDESC)
instacron_str UDESC
institution UDESC
reponame_str Palíndromo (Online)
collection Palíndromo (Online)
repository.name.fl_str_mv Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)
repository.mail.fl_str_mv palindromorevista@gmail.com || revistapalindromo@udesc.br
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