Ones image on social media serves as an “online visual” of the self that enacts wanted visibility and reactions from an audience online. The “audience” according to Yasmin Ibrahim’s journal article “Instagramming Life: Banal Imaging and the Poetics of the Everyday” argues how the audience contributes to the notion of “celebrity online” as a means to function (1). When considering online social media sites such as Instagram- a social media site with over six hundred million monthly users- a need to “commodity” emerges as advertisers according to Ibrahim “banal” our everyday lives as a means to “bind people to contrast their everyday lives through objects and activities” (52). In agreement, Alice Marwick and Danag Boyd, both researchers for Microsoft
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As argued by Davies the danger of doing so creates a objectification of the child that subjects them to “no free will” and “choice” being totally vulnerable online (85). An example of this would be during the month of October where Chrissy Teigen posted multiple staged photos and videos of her child in “Halloween” costumes. The costumes as a result helped demonstrate an authentic version of the self by revealing her everyday life of dressing up her child. This practice incorporates what Boyd and Marwick see as a “performance” as Texan “reinforces social bonds” through connecting with audience by intimately sharing her child online (9). Thus the commodification of selling products is revealed as the costumes are labeled specifically by company brands. This promotion then encourages what Davies labels as a “taste of false luxury” as the audience is then encouraged to go out a “buy luxury” as a means of “becoming apart of the family” (64). The products in all worn by the child are advertised in an authentic fashion that shows valuable credibility through Chrissy Reagans online “banal” persona. The long-term affect however, is what Davies would deem as dangerous as the child’s livelihood is solely objectified as means to sell a product …show more content…
Chrissy Texan while promotes herself as a “loving Mother” is simply generating an “authentic self” that ultimately utilizes her own child as a way to sell products. Using children in photos according to Davies ultimately reveals a vulnerability to the audience about the “celebrity” they are viewing based on the notion that a “child is the ultimate form of intimacy for a mother” (Davies 56). The question of why a parent reveals such intimacy is important as well as it contradicts the notion that the self is not authentic enough, as children systematically have always been linked fundamentally to innocence as they are on social media without “choice” or “awareness” (Davies 78). When applying Davies study to that of Chrissy Texans profile a “long term fear” is apparent as the question of the child’s rights as their “whole life is out in the open” demonstrates a no choice or awareness initially scenario. In a 2014 Case study in which Davies examined over a hundred different instagram profiles that were deemed “family oriented” including children that were four years old or younger, a serious finding of children’s safety was put at risk in the categories of threats from their audience members with fifteen of those profiles having open court cases of stalking and assault within the families. In all, through
As argued by Davies the danger of doing so creates a objectification of the child that subjects them to “no free will” and “choice” being totally vulnerable online (85). An example of this would be during the month of October where Chrissy Teigen posted multiple staged photos and videos of her child in “Halloween” costumes. The costumes as a result helped demonstrate an authentic version of the self by revealing her everyday life of dressing up her child. This practice incorporates what Boyd and Marwick see as a “performance” as Texan “reinforces social bonds” through connecting with audience by intimately sharing her child online (9). Thus the commodification of selling products is revealed as the costumes are labeled specifically by company brands. This promotion then encourages what Davies labels as a “taste of false luxury” as the audience is then encouraged to go out a “buy luxury” as a means of “becoming apart of the family” (64). The products in all worn by the child are advertised in an authentic fashion that shows valuable credibility through Chrissy Reagans online “banal” persona. The long-term affect however, is what Davies would deem as dangerous as the child’s livelihood is solely objectified as means to sell a product …show more content…
Chrissy Texan while promotes herself as a “loving Mother” is simply generating an “authentic self” that ultimately utilizes her own child as a way to sell products. Using children in photos according to Davies ultimately reveals a vulnerability to the audience about the “celebrity” they are viewing based on the notion that a “child is the ultimate form of intimacy for a mother” (Davies 56). The question of why a parent reveals such intimacy is important as well as it contradicts the notion that the self is not authentic enough, as children systematically have always been linked fundamentally to innocence as they are on social media without “choice” or “awareness” (Davies 78). When applying Davies study to that of Chrissy Texans profile a “long term fear” is apparent as the question of the child’s rights as their “whole life is out in the open” demonstrates a no choice or awareness initially scenario. In a 2014 Case study in which Davies examined over a hundred different instagram profiles that were deemed “family oriented” including children that were four years old or younger, a serious finding of children’s safety was put at risk in the categories of threats from their audience members with fifteen of those profiles having open court cases of stalking and assault within the families. In all, through