This paper reports on findings from a study which investigates our digital identities. Through examination of the process of constructing biographical films derived from users' social media (SM) data, we progress understanding of the digital self. Building on dramaturgical understandings of performance of self, we challenge the dominant views which argue that SM users operating as their 'authentic selves' can be empowered by having the potential for contemporaneous multiple selves. Through the introduction of the concepts of SM leakage and multiple temporal selves, we note the challenge of living with these digital self-representations which are sustained over time. We propose strategies for dealing with temporal shifts, as well as dispensing with the notion of the separation of these selves.

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How and why audiences consume films is a much-researched yet inconclusive area of film marketing. Film is an experiential product and qualitative research methods are a suitable way of gaining insight into how people choose between different film offerings and how they assess their film viewing experience. Before we can understand others" choices and experiences, we first must understand ourselves. We therefore begin our investigation by taking a snapshot of our experiences facilitated by Subjective Personal Introspection (SPI) to gain insight into how the lead author makes sense of his film consumption. The key findings complement and advance current debates in film and experiential consumption. Indeed, the theoretical contribution is two fold; the development of a film consumption experience model based on three-interrelated classification dimensions (film characteristics, viewing environment, situational environment), which collectively impacts the lead author"s consumption behavior, and our expansion of Schmitt"s (1999) SEMs model.

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