ORCID Profile
0000-0002-1072-0672
Current Organisation
University of Adelaide
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Publisher: Springer International Publishing
Date: 2023
Publisher: Deakin University
Date: 17-12-2021
DOI: 10.21153/PSJ2021VOL7NO1ART1512
Abstract: The online conference does not and cannot replicate the flow and feel of a face-to-face experience instead, it offers something new.We saw the timing and the mode of the conference as a chance to ask hard questions about the ground that persona studies has carved as an emerging field of study. We wanted to ensure that persona studies is a space for new voices and new directions of inquiry, and to provide a conference space that is entirely built around inclusive scholarship.The purpose of framing the conference as ersifying persona studies was to expand the scope and reach of our ambition, invite new possibilities, to challenge the conceptualisations of the field, and to challenge ourselves to release a sense of ownership and control over what persona studies could be. We have always strived to make persona studies as a welcoming and inclusive scholarly exercise, but the risk of groupthink and boundary policing is ever-present, and the conference theme was intended to challenge this.
Publisher: Informa UK Limited
Date: 03-07-2015
Publisher: SAGE Publications
Date: 11-06-2019
Abstract: The term ‘home’ can mean many things. Indeed, the contested nature of the term has caused some scholars simply to dismiss it as useless. However, homes have an undeniable importance to our sense of self. They link us to current or past geographic locations that indicate national or cultural identities, allow us to display our taste and interests through consumer activity, and are places where we engage in leisure activities. Increasingly, we share the images we take in and of our homes widely with others, transcending the boundaries of the family photograph album. Through this study of images shared publicly on Instagram, we investigate the ways that people ‘visibilise’ their sense of home in order to share it with others. We can see through this data the interplays between public and private, domestic and commercial, that digital photography and applications like Instagram have brought to light.
Publisher: SAGE Publications
Date: 21-07-2022
DOI: 10.1177/13548565221116074
Abstract: The category of ‘transmedia story’ is generally assumed to be static. That is, once a multi-platform story world has been classified as transmedia, it is assumed that this classification applies on an ongoing basis. However, these classifications may in fact need to be revisited, particularly when a story is told in ‘real time’ across social platforms that privilege immediacy. In this paper, we examine the relationship between diegetic social media paratexts and the core text they connect to, using the ex le of in online transmedia story The Lizzie Bennet Diaries. We argue that once the narrative has concluded, the transmedia status of the story becomes problematic, given the effort required to stitch together the different transmedial components. Utilising qualitative and quantitative content analysis, the show is analysed to determine the relationship between the different elements of the text as presented on YouTube and Twitter. The diegetic paratexts distributed through social media site Twitter contribute to the narrative by expanding upon the events of the core text conveyed on YouTube, and providing context – but never resolution – to the plot. The Twitter paratexts are inherently dependent on the core text but are also directional in that audience members must move from one platform to another in order to engage with the full story. Additionally, the temporal model of release for the core text changes the impact of the diegetic paratexts, while limiting the longevity of the transmedia aspects to the text as a result of dispersed narrative and dependency created by the relationship between textual elements. This analysis helps to extend understandings of transmedia storytelling as we propose the concept of ‘transmedia artefacts’, a category for narratives that transform once they are no longer able to be engaged with as live online objects.
Publisher: Informa UK Limited
Date: 03-06-2014
Publisher: Deakin University
Date: 03-02-2023
DOI: 10.21153/PSJ2022VOL8NO2ART1716
Abstract: Because personas are performances of identity, strategically enacted for an immediate or imagined audience, the study of personas to date has concentrated on the public realm of life. Professional personas enacted in workplaces have taken up much attention, whether for artists, comedians, scientists, actors, musicians, or politicians. Similarly (and often overlapping the professional persona), the performance of self online that is constituted in and through social media has proven a generative space for research. Mediatised personas generally open up a space for understanding persona performances, while the non-human, the institutional, the collectively constituted persona come as a logical extension of the theorisation of persona as strategic identity display.
Publisher: Deakin University
Date: 13-12-2017
DOI: 10.21153/PS2017VOL3NO2ART710
Abstract: In the last issue’s editorial, “Five Dimensions of Online Persona” (Moore, Barbour and Lee 2017), we turned our attention to the proliferation of public identities through online platforms, and traced key nodes of research that inform how we think about and theorise online personas. We also proposed and outlined five primary dimensions to the online persona that we characterised as public, mediatised, performative, collective, and having intentional value. The scope of that work was deliberately broad and far-reaching—we envisioned that piece as neither tool nor template but, we hoped, a conceptual starting point for further thinking and research. In this editorial we seek to continue that work by putting these theoretical foundations and concepts into practice through a study of the persona work of Instagram. This work constitutes, in many cases, significant labour: decisions are made and remade around sharing different types of images, along with the use of hashtags, framing, timing, filters, captions, or tags. Abidin (2016, p. 90) describes this as “visibility labour”, which is “the work in iduals do when they self-posture and curate their self-presentations so as to be noticeable and positively prominent” to their audiences or micro-publics, and notes that the labour itself becomes invisible in the persona creation process. This distributed visibility labour forms the basis of persona work, where users and their micro-publics, in conjunction with the platform and the algorithms that drive it, are continually iterating on the persona that is produced.
Publisher: Informa UK Limited
Date: 04-03-2023
No related grants have been discovered for Kim Barbour.