Self-Representational Photography at the British Museum

Autores

  • Charlotte Simpson University of Nottingham, Reino Unido
  • Jonathan Hale University of Nottingham, Reino Unido
  • Laura Hanks University of Nottingham, Reino Unido

DOI:

https://doi.org/10.34630/e-rei.vi12.5817

Palavras-chave:

Instagram, selfie, British Museum, gerenciamento de impressões, identidade

Resumo

Historicamente, a fotografia pessoal não era permitida em museus, mas hoje, visitantes armados com smartphones partilham online as suas experiências juntamente com imagens de artefactos e espaços de museus. As políticas do museu relativamente à fotografia pessoal mudaram drasticamente, mas permanece um elemento de “pânico moral” sempre que um visitante é visto a tirar uma selfie. Estes tipos de fotografias combinam a natureza comunicativa de uma pessoa com o contexto cultural do seu ambiente. São materiais semióticos; associam a pessoa, o espaço e o objeto e, uma vez partilhados online, são compreendidos juntamente com legendas e ‘tags’. O caso de estudo do British Museum explora os métodos e motivações por trás desta comunicação através da selfie do museu. Uma amostra aleatória de selfies compartilhadas no Instagram, durante um período de 7 dias no Museu em 2022, foi analisada usando a teoria fundamentada, com as ideias de conotação e denotação de Barthes, aplicadas para abrir e avaliar o significado dessas fotografias. A análise considera como estas fotografias, captadas 3 num museu nacional, podem contribuir para o desenvolvimento e apresentação de um sentido individualizado de identidade. Isto é complementado com evidências da política do museu, revelando mudanças de atitudes em relação à fotografia pessoal. A investigação mostra que os visitantes utilizam uma variedade de táticas para comunicar mensagens personalizadas, inscrevendo noções de autenticidade e narrativa experiencial, ao mesmo tempo que projetam imagens de si próprios e do museu.

Biografias Autor

Charlotte Simpson, University of Nottingham, Reino Unido

Charlotte Simpson is an architect and PhD student in the Architecture, Culture and Tectonics research group at the University of Nottingham, where she teaches in a design studio. She leads a design studio at the University of Sheffield and is an associate lecturer at Nottingham Trent University. Charlotte’s PhD thesis explores visual communication, the self, and the museum, using a case study to explore the use of postcards and social media bymuseum visitors

Jonathan Hale, University of Nottingham, Reino Unido

Jonathan Hale is an architect and Professor of Architectural Theory at the University of Nottingham, UK. He holds a PhD from Nottingham and an MSc from the University of Pennsylvania. Publications include The Future of Museum and Gallery Design (Routledge 2018), Merleau-Ponty for Architects (Routledge 2017), and Rethinking Technology: A Reader in Architectural Theory (Routledge 2007). He was the founding Chair of the AHRA

Laura Hanks, University of Nottingham, Reino Unido

Laura Hanks is an Associate Professor in the Department of Architecture and Built Environment at the
University of Nottingham, UK, where she teaches across the undergraduate and postgraduate programmes. Her research interests include contemporary museum design, the architectural expression of identities and issues of narrative place making. She has published chapters in Architecture and the Canadian Fabric (UBC Press, 2012), The Future of Museum and Gallery Design (Routledge, 2018) and Museum Making: Narratives, Architectures, Exhibitions (Routledge, 2012), which she also co-edited. Notable among her other publications are Museum Builders II (John Wiley and Sons, 2004) and New Museum Design (Routledge, 2021).

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Publicado

2024-06-05

Como Citar

Simpson, C., Hale, J., & Hanks, L. (2024). Self-Representational Photography at the British Museum. E- Revista De Estudos Interculturais , (12). https://doi.org/10.34630/e-rei.vi12.5817

Edição

N.º 12 (2024)

Secção

Trabalhos de conferências

Licença

Direitos de Autor (c) 2024 E- Revista de Estudos Interculturais

Creative Commons License

Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição-NãoComercial-CompartilhaIgual 4.0.