Titlebook: Self-Representation and Digital Culture; Nancy Thumim Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012 cultur

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Self-Representation, Digital Culture and Genre, to distinguish between examples of self-representation that may look alike at a textual level but that arise in entirely different production contexts, for different purposes, involving different processes of production and engaging different ‘ordinary people’. In short, analysis of the three dimen

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Histories of Self-Representation,rk highlights the role of people as the public of a nation and the role of the very same people in undermining the coherence of the nation specifically because of the struggles with their limitations in their own representation.

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Mediation,econdly, in a section on audiences, I argue that established (and highly contested) categories of audience and text remain important, and show how theoretical and empirical scholarship in the field of audience research exploring the relationship between production, texts and audiences led to the concept of mediation.

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Self-Representation Online,orm, to invite or to edit their self-representations. People do not need museums or artists to make displays or works to provide an outlet for their voices. In this never-ending platform, epitomising the possibilities of a digital culture, it seems as if ‘ordinary people’ might really ‘speak for themselves’.

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Introduction: Self-Representation and Digital Culture,eader a way of making sense of diverse examples of what I ultimately suggest should now be understood as a genre in its own right. The ‘call’ for participation via self-representation extends from . by publicly funded bodies (see Chapter 4, ‘Broadcasters’, and Chapter 5, ‘Museum and Art Worlds’) to

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Mediation,diation, I propose that the concept can be deployed to make sense of self-representation in digital culture. I elaborate on three conceptually distinct dimensions of mediation process — institutional, textual and cultural — which are deployed in the analysis of self-representation in Chapters 4–6. S

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Broadcasters,at is it that we are seeing? Ordinary people’s participation in broadcast spaces has often been told as a story of extremes — between exploitative appearance and meaningful participation. In recent versions of this story we find critically lauded digital storytelling projects at one extreme and real

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Self-Representation Online,like broadcasting or museums? It is both remarkable and genuinely new that making a self-representation no longer requires intermediaries to call, invite, edit or prescribe in any way what the text produced will turn out to be. In the online setting people do not need broadcasters to provide a platf