PLACENTAL ABRUPTION ASSOCIATE PROFESSOR IOLANDA BLIDARU MD, PhD.
Iolanda tortajada, núria araüna
description
Transcript of Iolanda tortajada, núria araüna
Social networking sites and love socialisation.
The case of Fotolog
Iolanda Tortajada, Núria Araüna
Rovira i Virgili University
OUR PROJECT FOCUSES ON:
-GENDER & MEDIA
-LOVE SOCIALISATION PROCESSES
-MEDIA AS SUPER PEER IN SEXUAL ISSUES (ALSO SOCIAL NETWORKING SITES)
-DISCLOSURE OF PERSONAL INFORMATION vs POPULARITY
Fotolog entries from
400 different users
Spanish teenagers / self-portray
(Snowball sample)
Fotolog albums from 18 users
Teenagers with 100+ pics per album
Data gathering: Fotolog
Methodology
I. Specific Fotolog interaction
II. ‘To-be-looked-at-ness’
III. Hyper-ritualisation
IV. Sexual and affective relationship models (traditional vs alternative)
Critical Communicative Methodology (Gómez, Latorre,
Sánchez, Flecha: 2006)].
CATEGORIES OF ANALYSIS
Results and conclusions
I. Self-representation
1. SEXUALISED
REPRESENTATIONS
Teenagers make sexualised self-
representations, both through the
usernames they choose (20% of
our sample) and through the
pictures they post (40% pose in
sexy clothing)
‘Sexy’ usernames: Girls: put_it_in_me_smoothly do_me_wildly make_me_feel_yours visual_pleasure do_me_in_public Boys: meet_me_on_my_bed doesn't_fit_in_your_hand single_and_no_commitment I'll_set_you_on_fire I've_got_what_you_want condomless_night
2. GENDER
DIFFERENCES
Male users tend to portray themselves in active
poses, surrounded by objects that underscore their
power or position in a peer group
Women tend to focus their attention on beauty and
intimacy, while usually stressing how important their
(girl)friends and peer group are to them
I. Self-representation
Girls: ‘To-be-looked-at’-ness, implying a passive exhibitionist female [body], made to give pleasure to an active male spectator (Mulvey)
II. Male gaze
Both girls’ and boys’ poses reflect advertisement gender expressions
III. Hyper-ritualisation
Calvin Klein Fotolog
TRADITIONAL MODEL Recurring patterns:
Passion/Violence Love as destiny Dependence and self-
sacrifice Negative feelings
ALTERNATIVE MODEL -Positive feelings towards boyfriends/girlfriends who are supportive - Solidarity (vs competition) among girls
IV. Relationship models
‘I love you more than anything, more than anything I can think of. I love you when you insult me and when you push me and when you are angry at me. I love you when, once you’re finished yelling at me, you hug me and you tell me I’m your whole life’ (Female addressing male)
‘Thanks for listening to me baby ☺ you are really top, I mean it. (Comment between girlfriends)
self-portraits body-parts
friends significant other
• Feminine touch • Ritualisation of
subordination • Licensed withdrawal • To-be-looked-at-ness
• Sexual subjects • Pleasing ourselves
• Lesbian pose
V. Hyper-ritualisation (qual.)
•Feminine touch •Ritualisation of subordination •Licensed withdrawal •To-be-looked-at-ness •Sexual subjects •Pleasing ourselves •Lesbian pose
Goffman, Gender
Advertisements. 1979. Fotolog.
• Feminine touch • Ritualisation of
subordination • Licensed withdrawal • To-be-looked-at-ness
• Sexual subjects • Pleasing ourselves
• Lesbian pose
Goffman, Gender
Advertisements. 1979.
Fotolog.
• Feminine touch • Ritualisation of
subordination • Licensed withdrawal • To-be-looked-at-ness
• Sexual subjects • Pleasing ourselves
• Lesbian pose
Goffman, Gender
Advertisements. 1979.
Fotolog.
•Sexual subjects
To-be-looked-at-ness
• Lesbian pose
• Coherence over time
Self-portrayal
• Coherence over time • Sexualisation &
individualisation • Code control • Reproducing traditional values
the supermodel the languid romantic the trash chic girl
Media as superpeer Gender perspective * Risk perception/media practices…
Conclusions
Thanks for your
attention!
Iolanda Tortajada, Núria Araüna (URV)
Cilia Willem, Lucrezia Crescenzi (UB)
Itxaso Tellado (UVic)