Skip to main navigation menu Skip to main content Skip to site footer

Articles

Vol. 12 No. 1 (2018): Philosophy and New Media

The "I" in Object: Selfie Culture and Object-Oriented Philosophy

DOI
https://doi.org/10.14288/cinephile.v12i1.198190
Submitted
May 12, 2023
Published
2018-03-01

Abstract

The emerging concept of a selfie culture necessitates the development of a critical media theory that provides ontological attention to the selfie as a larger cultural phenomenon. While in popular media the selfie has typically been treated as a novel form of self-representation, what has been less recognized is the selfie’s profound impact on contemporary visual culture. Since 2010 and the invention of the forward-facing camera on the iPhone 4, visual culture has become increasingly saturated with a variety of reflective photo and video technologies. Whether referring to Skype, FaceTime, or the selfie per se, in the selfie’s visual culture our experience is frequently mediated by a heightened state of self-awareness or what popular media has diagnosed as exacerbated narcissism. And yet, in spite of a desire to link the selfie to the concept of narcissism, the philosophical implications of this link have been underdeveloped. At the moment, there seems to be a reticence or even an inability to apply the methodology necessary to accurately assess the selfie’s relationship to narcissism, namely psychoanalysis, given its diminishing status in the past half-century. In film studies, psychoanalytic theory began waning beginning in the 1990s as new scholarship increasingly turned instead toward film phenomenology and affect theory’s methodologies. As this essay will suggest, however, the selfie’s narcissism need not be explicated via a naïve return to Freud, since in fact, the most radical implications of narcissism’s theorization are being suggested by the wholly contemporary movement of object-oriented philosophy (OOP hereafter). OOP’s claims are useful as a diagnostic tool for examining modes of being such as selfie culture’s object-oriented subjectivity, which de-prioritizes external relations and is instead preoccupied with self-relation— that is, the affective experience of oneself as image and as object. Similar to selfie culture, OOP registers a change in sentiment toward the condition of objecthood or, more specifically for our purposes, toward the thinking of the self, or the subject, as object.