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This paper explores the purposive use of the selfie in the construction of personal narratives that develop and support an individual’s human brand. Selfies were divided into archetypical clusters of “genres” that reflected the combined story told through Instagram image and accompanying text captions.

The analysis drew a randomized sample of 1,000 images with accompanying text from a large capture of 3,300 English language captioned selfies. Coding for semantic and semiotic data used a three-wave technique to overcome interpretive limitations.

Based on their structural characteristics, seven genre types emerged from the coded sample set. These primary genres of selfie meta-narratives are autobiography, parody, propaganda, romance, self-help, travel diary and coffee-table book.

The research is limited in generalization to the Instagram photo-sharing app platform by design. Samples were taken from the app due both to its popularity and its capacity to annotate images. Selfies conducted in non-public, non-annotation-based apps may produce alternative genres and classifications.

The paper presents a genre classification to examine how selfies are used to “show, not tell” a portion of the consumer’s life story. Brands, firms and marketers can apply genres to examine the selfie types that best connect with the identity of their brands and consumers, based on how their consumers communicate within the Instagram network.

Selfies are an oft pathologized and moralized aspect of consumer conduct. We present a view of the selfie as a deliberate, consciously considered communication approach to maintaining social bonds between friends, family and wider audience. Selfies are presented as a combined effect of consumption of a social media service (Instagram) and the co-production of valued content (the selfie) that recognizes the individual as an active constructor of their digital self.

The paper outlines a novel framework of selfie genres to classify the deliberate human-brand narratives expressed in selfies. By taking a narrative perspective to the Instagram selfie practice, the genre type captures the combined effect of the mimesis and diegesis, where the mimesis showing of self is contextualized with the diegesis of the provided captions to capture an intentional storytelling act of image and text.

Del Toro's adult fairy tales create their horror via a disruption in the familiarities of place and identity using a connection between a purposeful mise en scène and techniques of sound design world-building that he borrows from the long tradition of horror filmmaking. Though the discussion of the relation between image and sound in del Toro's films would (and do) fill a number of volumes and monographs, this chapter will focus on one particular technique long-employed by horror film sound designers, music supervisors and composers: extra-diegetic sound. Where diegetic sound is the audio that is part of the world of the film and non-diegetic sound its inverse, extra-diegesis points out that these bits of audio effectively collapse the world of the character with the world of the audience. Extra-diegetic audio is a diegetic audio effect (the source being clearly seen or pointed to in the visuals) that has been sweetened, enhanced or noticeably processed to include extra audio elements that are non-diegetic, making the whole of the audio both of the world of the film and simultaneously of the world of the audience. The audience notices and can clearly hear the extra enhancements, though in the stress and horror (which is the point) of the moment these distinctions may collapse and lead the audience to confuse the real with the pretend.

The purpose of this paper is to provide comment on the contribution of the Environmental performance accountability special issue of Accounting, Auditing & Accountability Journal published in 1997 towards the innovation through a personal reflection developed from the perceived need to move academics and practitioners into the same space on environmental improvement by organisations. In addition, the paper will offer future directions for environmental performance accountability research, including the potential for tools such as integrated reporting, the need for theoretical pragmatism and importance of a transdisciplinary approach to research.

The diegetic method used for this article allowed for the provision of a narrative about actions, characters and events of interest to an audience. This method facilitated the intersection between the biographical and the historical content and context, and a hypodiegesis provided the ability for an embedded story within the larger history. The approach allowed for a hypodiegetic as the story within the story of developing the relationships between academic accountants and practitioners.

Contained in the special issue is a set of articles marking the extremes of academic and practitioner perspectives on what is broadly termed environmental performance and accountability. Review of the content of the special issue reveals that the bias is towards academic rather than practitioner appreciation. Review of the context providing the setting for the special issue shows the need for publishers to engage in the social media mechanisms needed to commence dialogue and convey the messages of academics to practitioners.

Subjective assessment is overtly recognized rather than subsumed in the research methods adopted.

The embedding of articles in special issues within a broader communications portfolio for practitioner understanding is suggested.

The nature of the personal reflection means that thoughts recorded are novel and unique.

The purpose of this paper is to provide a thought-provoking, attention-directing diegesis about the quality of the experience for those working as academic accounting scholars.

Using storytelling by the authors as narrators and a literature review, this paper examines challenges to, and possibilities for, accounting academics.

The study reveals a number of possibilities for the sustainability of the accounting academy in Australia, all of which rely on the symbiotic relations between the three elements of the profession – practitioners, policymakers and academics – to prepare accounting and business professionals for the future.

The study is limited to the Australian context of academic accountants and, therefore, the identified possibilities for accounting academics in other contexts may differ.

This paper identifies the challenges for contemporary accounting academics in Australia and presents opportunities for sustainability of the Australian accounting academy.

This paper uses a story to explore its overarching theme of the quality of the academic experience for accounting academics in Australia. The story is developed from the authors’ combined experiences of > 80 years as accounting academics who are also actively engaged with the profession.

This research was conducted to outline the capturing and analysis of composite texts. We contextualize this using selfies as image and textual data sourced from Instagram and analyzed using a three stage analysis approach from a genre perspective.

The capturing of composite texts is outlined for numerous services available to researchers to study social media contexts. The analysis applies a three-stage technique of (1) what is shown, (2) what is said, and (3) what is the central narrative to overcome interpretive limitations of privileging text over image or vice versa.

Based on their structural characteristics, seven genre types emerged from the coded sample set.

Issues arise in capturing this data as social media platforms change their access and usage policies and as capturing services alter their capabilities.

The paper outlines a novel approach to capturing and understanding the mimesis and diegesis of selfies as composite texts.

This paper aims to show the representation of entrepreneurship in movies (blockbusters) as a source of influence on popular representations.

The author uses semiotics to contrast dominant representations in popular movies about Chanel with the reality of her professional life as can be found in archives about the fashion world and couture workers.

The changes in the account of the entrepreneur's success may disregard important elements such as the importance of collective work and the role of social history on entrepreneurial ventures.

Is entrepreneurship really a source of information in the general representations of what it is to be an entrepreneur and what explains the success and failure of entrepreneurial venture when we observe that popular representations are so far away from what research can describe and interpret using primary data?

By displaying the discrepancy between entrepreneurship theory and popular representations, especially in the movies, one may be able to grasp some of the reasons why entrepreneurship needs more in-depth analysis of actors' representations in relation to the image of popular entrepreneurs in the public eye.

This paper aims to consider the accounting academic, the environment in which the academic operates and the challenges they face.

This paper explores a number of issues relating to the accounting academic. The five papers that make up the special issue are located within a framework which is used to illustrate how each one contributes to the field. This paper is primarily discursive in nature.

The theoretical, methodological and empirical approaches used in the papers that make up this special issue are described. In addition, the paper suggests that the accounting academic will remain a fertile area for future research.

This portrayal of accounting academics is of interest to accounting researchers, accounting historians, university managers and individual academics.

This special issue provides a range of examples of research relevant to the accounting academic and sets an agenda for future research.

Netflix's short-lived Gothic sci-fi psychological thriller 1899 tells of the discovery of a ghost ship by a steam-liner bound for America. All aboard are tested by unexplained deaths, visions of past traumas and impossible events. 1899 exemplifies what Mittell calls ‘drillable media’ (2009), contemporary elaborate and inventive serial TV narratives which encourage the viewer into active reception, rewarding forensic deconstruction and analysis.

The creators sprinkle references to Classical mythology and philosophy throughout 1899, inviting literate, active consumers to use them in forensic reception. Featuring an ensemble cast of 20 principal characters, 1899 offers a variety of ‘masculine’ representations, and all can be described as Gothic. These characters are understood and enhanced through consideration of the allusions to Classical mythology in the text. These echoes enhance and shape the Gothic masculine representations in 1899. Furthermore, the female protagonist is imbued with counter-typical hegemonic gender traits and her connections to mythic and literary characters encourage a questioning of her status as hero.

With reference to Classical reception and Gothic studies, textual analysis and online analytical discourses posted by fans of 1899, this chapter explores the interplay between Gothic male representations, ‘masculine’ traits and allusions to mythology, employing both to create a television series which is both timeless and contemporary.

This chapter explores the development of the dangerous, sexualized fembot archetype in science-fiction film and television, drawing a line from the robot Maria in Fritz Lang's Metropolis (1927) to contemporary versions of the archetype.

Primarily, this chapter outlines how this historically villainous trope has been augmented and redefined in twenty-first Century posthuman science-fiction texts Ex Machina (Alex Garland, 2014) and Westworld (Joy et al., 2016 –). Both feature fembot characters who are central to the narrative, and can be defined as both villainous at times, but who also occupy the position of arguable sympathetic protagonists. In part, this redefinition can be argued as more a reflection of a Western hegemonic shift towards feminist values. Nevertheless, there have been criticisms of the male gaze present in both and of the emphasis on female suffering.

As oblique texts for an 18–35 audience, both Ex Machina and Westworld ask more questions than they answer. Through textual analysis and with reference to relevant scholarship, this chapter considers the impact of audience and institution on representation, the interplay between genre conventions and the presentation of the archetype as well as a considering how both offer different treatment of intersectional androids.

This chapter argues that Maleficent's physical difference and social exclusion can be analysed as disabling rather than villainous trajectories in Maleficent (2014) and Maleficent: Mistress of Evil (2019). I explore how Maleficent is (re)represented in the twenty-first century as a more sympathetic figure who contends with disability and social prejudice in her attempt to form meaningful connections with others. I analyse Maleficent's ‘villainous’ traits using Feminist Disability Studies (Garland-Thomson, 1997, 2017; Wendell, 1989) to argue that her physical and cultural differences invite hostility from the human kingdom, especially in relation to her maternal connection with Aurora. While critics have examined themes of disability and motherhood in Maleficent (Donnelly, 2016; Wehler, 2019), I argue that these narratives are continued and subverted further in the sequel Maleficent: Mistress of Evil (2019). In re-visioning Maleficent in this way, it becomes possible to challenge narratives of female villainy by paying attention to physical disability, social exclusion and maternal love.