‘I’d Double Tap That!!’: street art, graffiti, and Instagram research

MacDowall, Lachlan; Souza, Poppy de

doi:10.1177/0163443717703793

Cited by 51 publications

(46 citation statements)

References 23 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…In what MacDowall and de Souza (2018) call ‘photostream’, images ‘appear as fleeting digital objects in a continually updated visual flow’ (p. 9). Given that images are ‘largely viewed for their immediate visual impact on a distracted viewer rather than as an object for careful consideration or analysis’ (MacDowall and de Souza, 2018: 9), the very visual quality of images matters in order to attract more viewers and followers. Instagram photos must and, in fact, have strong visual components and qualities, and images of tourism and place are no exception.…”

Section: Digital Wall: ‘Pretty Place’ Images On Instagrammentioning

confidence: 99%

“…Second, the filter function of Instagram accentuates aesthetic qualities of IMV, even further obscuring existing social conditions of the neighborhood. ‘The most visually distinctive feature of Instagram’s platform vernaculars is its vintage-inspired preset filters that mimic the washed-out, dreamy aesthetic and mood of analogue photography’ (MacDowall and de Souza, 2018: 8). There are over 40 built-in filters, such as Clarendon, Juno, and Ludwig that adjust color, saturation, contrast, shadow, brightness, vividness, intensity, tone, and luminance of images.…”

Section: Digital Wall: ‘Pretty Place’ Images On Instagrammentioning

confidence: 99%

See 1 more Smart Citation

From concrete walls to digital walls: transmedia construction of place myth in Ihwa Mural Village, South Korea

2020

Media, Culture & Society

View full text Add to dashboard Cite

Media representation is not a neutral site for reflection of reality, but a process through which discourses are constructed and circulated. When presented in media, urban space is re-mediated and its meanings are newly configured. Discursive currents do not simply remain in the media sphere, but reshape the cultural economy of certain places by attracting tourists and inducing property value increases. This article examines the process in which Ihwa Mural Village, a disenfranchised residential neighborhood in South Korea, has become one of the ‘best photo spots’ for tourists through representation via three distinct types of media – murals, popular culture, and Instagram. The analyses focus on the double functions of each medium: branding function to create particular place meanings, on the one hand, and power to create distance between representation and community realities on the other. This dual tendency is reinforced by transmedia dynamics. When featured in diverse media, images of Ihwa Village proliferate, attracting more participants and enabling further transmedia interactions. Yet, transmedia image flows accentuate only visual and aesthetic qualities of place. The expansive and subtractive transmedia construction consolidates the place myth, while the same process advances its detachment from the reality of the place.

show abstract

Section: Digital Wall: ‘Pretty Place’ Images On Instagrammentioning

confidence: 99%

Section: Digital Wall: ‘Pretty Place’ Images On Instagrammentioning

confidence: 99%

From concrete walls to digital walls: transmedia construction of place myth in Ihwa Mural Village, South Korea

2020

Media, Culture & Society

View full text Add to dashboard Cite

show abstract

“…The portrayal of a consistent and distinctive style identity was particularly important to the most career-minded participant, who had the highest follower numbers at 54k. Jura (25) chose to edit all her images before uploading these to Instagram; moving away completely from the realtime appeal that is usually associated with the platform, where an influencer might shoot, filter and post an image immediately (Song, 2016;MacDowell and de Souza e Silva, 2018). She felt she portrayed a realistic version of her offline style by showing herself in and around her hometown of Glasgow in the clothes she was wearing that day: "just putting on jeans and a t-shirt and a blazer -that literally it is my day.…”

Section: Identity Evolution On Instagrammentioning

confidence: 99%

Scottish fashion influencers: Constructing a style identity on Instagram

Marcella-Hood

2020

International Journal of Fashion Studies

View full text Add to dashboard Cite

This article builds on existing theories of self-presentation and self-identity through a study into the behaviour of fashion influencers who position themselves as Scottish on Instagram. Fourteen interviews were carried out with Scottish fashion influencers who were asked to reflect on their online identity. The interaction between the offline and online self is explored, where national identity and a sense of place are recognized as important attributes of self-identity in an offline setting and participants were sampled on the basis that they were projecting this as a key component of their online self. All were found to be seeking to convey an ideal identity on Instagram; this involved curating particular aspects of their offline style and showcasing these online. The issue of authenticity was complex, and a spectrum of identity evolution on Instagram is observed and reflected on. The most career-minded participants tended to portray themselves in a more one-sided manner and were most strongly influenced by a sense of their audience. In contrast, the participants who were less career-minded tended to explore more freely with their online self and were influenced most strongly by internal factors.

show abstract

“…1 4 , I s s . 2 , 2 0 2 0 street art as a communicative space in the Middle East dates back to the Lebanese civil war and the first Palestinian intifada in Gaza and has been widely deployed as a protest aesthetic, a counter-narrative tool, and a community-centered art form in the region (Kraidy 2016a;MacDowall and de Souza 2018;Sinno 2017;Peteet 1996;Gruber 2008). Scholars studying the use of street art in conflict situations in Northern Ireland, Palestine, and Egypt have suggested that street art in conflict zones becomes "a means of political resistance by envisioning competing futures, inscribing memory and critically commenting on political events" (De Ruiter 2015, 582).…”

Section: Tactical and Participatory Mediamentioning

confidence: 99%

Digitally Mediated Art in the War Zone: The Aesthetics of Resilience in Yemen

Oruc¹

2020

CyberOrient

View full text Add to dashboard Cite

The current civil war in Yemen has been largely ignored by mainstream media, with the majority of coverage spotlighting the military aspect of the conflict. Yemeni artists challenge this absence of narratives reflecting the suffering of thousands of Yemeni men, women, and children by exposing the actual situation to the outside world through various artifacts shared on digital media platforms. Despite the significance of contemplating creative endeavors in conflict zones and the burgeoning interest in cultural production both during and after the Arab Spring in the Middle East, contemporary Yemeni creative expressions have been largely neglected by scholars working on the Middle East. This article traces how Yemeni artists have intervened in the representation of the conflict and war in Yemen since 2011. It analyzes the heterogonous artistic forms, contents, and representational strategies that Yemeni artists and filmmakers have employed to express their collective concerns over war and destruction. The constraints and limitations imposed by the conflict have also shaped the creative expressions of Yemeni wartime artists, especially in terms of sharing their work both with their own communities and with the wider world. While their creative work manifests the suffering of a nation, it also constitutes a refusal to live under weakness and lack of hope for the future. The concepts of tactical and participatory media and socially engaged art are used to refer to the production and dissemination of a variety of creative responses to the ongoing crisis in Yemen, as illustrated through selected art media forms.

show abstract

‘I’d Double Tap That!!’: street art, graffiti, and Instagram research

Cited by 51 publications

References 23 publications

From concrete walls to digital walls: transmedia construction of place myth in Ihwa Mural Village, South Korea

From concrete walls to digital walls: transmedia construction of place myth in Ihwa Mural Village, South Korea

Scottish fashion influencers: Constructing a style identity on Instagram

Digitally Mediated Art in the War Zone: The Aesthetics of Resilience in Yemen

Contact Info

Product

Resources

About