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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 examines the social and ideological significance of selfies as a manifestation of networked culture and individualism. The aim is to illustrate the meaning and affordances of selfies by investigating their potential for (post)feminist empowerment.

The analysis entails an exploration of the form, content, and context of (post)feminist selfies. This includes a review of popular expressions of selfie-empowerment as well as an in-depth ideological analysis of several revealing case studies.

As a result, this paper identifies a (dis)empowerment paradox marked by a divide between material and affective conceptions of empowerment. According to this paradox, self(ie)-expressions may feel empowering to the individual(s) controlling the camera while concurrently conforming to hegemonic norms – a trend which is particularly pertinent to many networked selfies shared via social media. Accordingly, the paper concludes by critiquing the discourse of selfie-empowerment and considering the significance of cultural context in shaping meaning and ideology.

By addressing these implications in light of broader shifts toward networked individualism and post-feminism, this paper critically examines the ideological significance of selfies and demonstrates a need to reconsider what sociological perspectives can contribute to the study of selfies within the context of networked cultures.

This study investigates the brand selfies that have the capability to help brands thrive through crises. The brand selfies spark a self-inferential process that makes customers feel connected to the brand and makes them biased toward a specific brand during an uncertain situation.

A total of 166 questionnaires were analyzed through structural equation modelling (Smart PLS) and a niche group of young millennials from Thailand was selected based on their luxury items usage, frequency of visits to leisure spas and hotels, expensive car showrooms, branded jewelry stores and luxury watch shops.

The study highlights the emergence of brand selfies during the crisis and the priority given by customers as compared to brand-generated content or promotional campaigns. The results indicated a positive influence of brand selfies on brand preferences directly and through the mediation of brand signature.

It is fascinating for brands that customers voluntarily include their products in their carefully crafted and staged selfies that deliver their image and massages as social signifiers during a chaotic situation.

The research classifies the impacts of brand selfies in the luxury, leisure and tourism market of Thailand and its assistance in thriving through crises. The study is one of the rare studies that present brand selfies as a hassle-free promotional tool for brand signature and a game-changing strategy to deal with crises.

The purpose of this paper is to outline the contributions presented in this special section on the selfie phenomenon and its significance for marketing practice and scholarship.

The significance of the topic is reviewed and themes related to the selfie phenomenon and marketplace issues are discussed in connection with extant research. The contributions of each paper are briefly highlighted and discussed.

Although the selfie is a relatively new phenomenon, both marketing practice and scholarship have noticed its prominence in consumer lives and potential for generating marketplace insights. Despite its frequently presumed triviality, the selfie is a multifaceted phenomenon of significance to key marketing areas such as branding, consumer behavior or market research. Possible avenues for future research are outlined.

Key issues relating to research into the selfie phenomenon for marketing scholars are illuminated.