| 1. |
- Johansson, Anna, 1980-, et al.
(författare)
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Iconography of suffering in social media : images of sitting girls
- 2015. - 1
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Ingår i: World suffering and quality of life. - Dordrecht : Springer. - 9789401796699 - 9789401796705 ; , s. 341-355
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Bokkapitel (refereegranskat)abstract
- This paper examines the online iconography of mental suffering by using the visual trope of a hunched-over sitting girl as a case in point. By analyzing images of sitting girls found in YouTube video montages on self-harm, and also tracking their further online existence through image search engines, we suggest that the popularity of this trope stems from its generic character, where the girl can be read as simultaneously docile and as actively refusing to engage with the world around her. While not new in itself, the trope is circulated and put to use in new ways through social media with emphasis on remix and visual communication. We argue that media-specific features, together with gender and mental health discourses, enable particular representations and aesthetic styles that may both reinforce and alleviate suffering.
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| 2. |
- Johansson, Anna, 1980-, et al.
(författare)
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Ridiculing suffering on YouTube : digital parodies of emo style
- 2016
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Ingår i: Blunt traumas. - Oxford : Inter-Disciplinary Press. - 9781848884694 - 9789004370432 ; , s. 31-40
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Numerous YouTube videos represent and comment on self-injury, as evidenced by a search for this term, which produces about 123,000 results (6 June 2014). In previous studies, we have explored how suffering, the body, and gender are performed in such personal videos. During our YouTube study, we have also encountered a specific category of video clips that merits further discussion: videos that in different ways attempt to parody or make fun of self-injury and mental distress. What most of them have in common is that they focus on self-injury as part of the so-called emo subculture or emo style. The purpose of this chapter is to discuss what such videos tell us about cultural conceptions of suffering and gender. Our analysis builds on a small sample of three YouTube videos in which emo culture and mental distress are parodied and ridiculed through exaggeration. We demonstrate that the parodies revolve around two main points: emo as a stylised performance of suffering, and emo as queer masculinity. The chapter concludes by suggesting that this ridiculing of emo culture builds upon discourses of hegemonic masculinity and normative heterosexuality which are also likely to have consequences for the understanding of mental suffering, emotional sensitivity, and gender in a broader context.
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| 3. |
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| 4. |
- Sternudd, Hans T., 1955-
(författare)
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Having the Voice of Depression : An Example of Pathographic Film Narratives on YouTube
- 2016
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Ingår i: Narrating Illness. - Oxford : Brill Academic Publishers. - 9781848884885 - 9789004370272 ; , s. 221-234
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The mental health problems of teenagers and young adults have attracted an increasing interest in Western media and among scholars and health care workers during the last twenty years. Scholars such as Frank Füredi argue that Western societies have developed an emotional therapeutic culture. This paper will take a closer look at how experiences of mental distress are communicated from an inside perspective. Saraphine Stanier’s YouTube video How Depression Effects Someone’s Daily Life (2015) is analysed as a case in point. Theoretically, the examination is founded on the concept that illness and diseases are constructed in a cultural content, at least the expression of them is. In this case this means that depression must be communicated in a culturally recognisable way by the distressed; if this is not done, the individual runs the risk of not achieving attendance and care according to their needs. Stanier’s video is an example of an online culture in which personal experiences are mediated and communicated on a worldwide scale. This kind of pathographic storytelling often follows certain rules that are constituted by the discourse created by the community, in this case the YouTube forum. The video depicts a girl’s morning routines in a realistic style that is reminiscent of Danish Dogma 95 and Romanian New Wave films. Using an autobiographical narrative, Steiner provides us with an important example of how affective experiences are mediated in embodied expressions and digitally transmediated through a video.
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| 5. |
- Sternudd, Hans T., 1955-
(författare)
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Images of Pain : Self-Injurers’ Reflections on Photos of Self-Injury
- 2011
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Ingår i: Pain. - Oxford, United Kingdom : Inter-Disciplinary Press. - 9781848880801 ; , s. 131-141
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Photographs of self-injury are a powerful tool for communicating pain (in a broadsense of the word, including ‘inner’, non-physical pain caused by inner turmoil or anxiety). They appear quite frequently on the internet and are often perceived as dangerously seductive and triggering, to the extent that websites can be forced to withdraw this kind of material. Publishing photos of self-injury can also lead toaccusations of attention- seeking, or competing to be the worst self-injurer. Anoften repeated feature of an inauthentic self-injurer is that s/he publishes photos of self-inflicted wounds and scars. As part of an ongoing study on visual representations of self-injury on the internet, members of a self-injury communitywere asked to reflect on the production, publication and consumption of photos of self-injury. Over fifty informants, both active and former self-injurers, participated in the survey. Prejudices about exposure to self-injury photos leading to anexacerbation of self-injury were not supported by the study. Positive effects, like alleviation, or being warned against the consequences of self-injury, were frequent,and the soothing effect of the photos was often emphasised. The answers from the survey create a complex picture, showing how self-injury photographs are part of a community culture; used to control the self-injurious behaviour, and as acommunicative device. The self-injury culture is reliant on expressions of empathy and solidarity. Pain is the basis of its communication, and, with the help of photographs, pain can be remembered, imagined and transferred. The self-injurycommunity revolves around a notion of shared experience of pain; photographs of self-injury are one of the resources for sharing and for building its communal ground.
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| 6. |
- Sternudd, Hans T., 1955-
(författare)
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Modes of pain : reflections on the self-injury experience
- 2014. - 1
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Ingår i: Painful conversations. - Oxford : Inter-Disciplinary Press. - 9781848881426 ; , s. 147-165
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Answers from a group of fifty self-injurers active in an internet community to a questionnaire addressing issues about photographs of self-injury raised questions about how pain is communicated and takes part in constituting individuals. A situated knowledge reflecting a first-hand experience of self-injury experience is acknowledged in this study. The results from the questionnaire did not confirm assumptions that being exposed to or producing photographs of self-injury is harmful. Self-injury photos were inscribed in discourses that emphasised both negative and positive aspects, with both triggering and soothing outcomes. Articulations in control and sharing discourses were frequent. With the help of discourse and multimodality theories, self-injury photos were defined as one of several modes to articulate pain: aim that was not be understood as a physical pain, but as a life-threatening chaos that needed to be controlled by language. Communities for self-injurers provide many opportunities for self-injurers to express and communicate pain in different genres and modes. Self-injurers’ activities are seen in the light of a philosophy that recognises pain as a constitutional force for subjects. The discourse theoretical approach shows that the skin can be seen as the arena where ‘inner‘ and ‘outer‘ experiences are interpreted through language and also constitute the subject. Self-injury experiences are concluded to be expressions of an individual who resists destructive forces of pain that threaten his/her existence by marking the skin and drawing contours on the place where the individual is established, in an attempt to become.
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| 7. |
- Sternudd, Hans T., 1955-
(författare)
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Red Rebel Brigade : Känslor och estetik i klimatmobiliseringen
- 2024
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Ingår i: Ekologisk konstvetenskap. - Huddinge : Södertörns högskola. - 9789189504615 - 9789189504622 ; , s. 125-154
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Bokkapitel (refereegranskat)abstract
- I kapitlet diskuteras i emotionella estetiska uttryck i samband med klimatmanifestatoner. Utgångspunkten är den artivistiska gruppen Red Rebel Brigade. Med hjälp av enhetligt estetiskt uttryck, där deltagarna uppträder med långsamma rörelser i röda dräkter och vitsminkade ansikte, vill Red Rebel Brigade skapa emotionell upplevelse av klimatkrisen. Med en bakgrund i mim använder Red Rebel Brigade en ordlös kommunikation för att försöka skapa ett större engagemang än klimatforskningens rapporter lyckats med. Genom formal- och innehållsanalys av de fotografier och texter som gruppen publicerat på sociala medier framträder ett civilisationskritiskt budskap där naturen får representera ett harmoniskt tillstånd. Red Rebel Brigade intar i sin retorik en suverän moralisk position som blandas med en våldsam retorik. Ur denna framträder bilden av en sluten sekt, som inte verkar ha någon grund i deras faktiska verksamhet. Avslutningsvis diskuteras hur en klimatengagerad konst- och bildvetenskap kan bidra till klimatmobiliseringar genom konstruktiva förslag på hur klimatkrisen kan kommuniceras.
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| 8. |
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| 9. |
- Sternudd, Hans T., 1955-
(författare)
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The Discourse of Cutting : Regaining Control and Meaning Making
- 2011
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Ingår i: <em>How Does It Feel?</em>. - Oxford, United Kingdom : Inter-Disciplinary Press. - 9781848880504 ; , s. 75-98
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The point of departure for this discussion on pain and identity is an examination ofover 6,000 photos of self-injury, taken from an Internet site. The central issue isself-injury in the form of skin cutting. With a perspective derived from discourseanalysis and feminism, these images are analysed as semiotic and linguistic entitiesthat communicate important messages from bodies in a postmodern society.Notions of the sublime, obscene and other conceptions of limitlessness are centralto the understanding of cutting and the images of it. A discussion of ElaineScarry’s definition on pain leads to an understanding of pain not as a physicalsensation but as a semantic state of chaos, of disorder and trauma. Cutting could beseen as a means to (re)create order and as an expression of anger and resistancewhich has a hidden political potential. Cutting by women also challengeshegemonic notions on femininity. By using psychoanalytic theories of the skin’simportance for identity, the article ends with a suggestion that the actual placewhere identity is constituted is the skin. This theory gives an understanding as towhy skin is being cut as a way to re-establish order when the subject is threatened.
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| 10. |
- Sternudd, Hans T., 1955-
(författare)
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The Discourse of Cutting : A Study of Visual Representations of Self-Injury on the Internet
- 2010
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Ingår i: Making Sense of Pain. - Oxford, United Kingdom : Inter-Disciplinary Press. ; , s. 237-248, s. 237-248
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- In this chapter some results from a study of over 6000 photographs of self-inflicted injuries is presented. The typical image is taken by somebody that presents themselves as females; it depicts a body part: an arm which has been cut. Seldom contextualised content is represented. Analyses from a traditional feminists perspective is likely to produce an interpretation that these images shows feminine bodies victimized under a patriarchal oppression. But here an alternative interpretation that focus on the fact that the few contextualised features makes identifications possible for many people regardless of sex, culture, class, race etc. The images emphasize the body and the wound, entities that ‘everybody’ can relate to. We should also consider the aggressive character of the act of cutting. Therefore an alternative interpretation is suggested that emphasize cutting as an act of resistance from a position that’s not necessary based on traditional gender formations. The place for this struggle is the skin and the paper concludes with a suggestion that skin is not only the place for cutting but also the actual place for discursive closure and establishing of identity.
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