Reinas drag en plataformas de socialización: modalidades audiovisuales de presentación de sí de artistas en reels de Instagram
The fact that contemporary socialization is also given through convergent means (Carlón, 2016) sustained on the icon-indiciality of the audiovisual image, leads us to rethink how we understand the dynamics of the visibility regime of our spectacular society (Debord, 2012) and how the artists of the...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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ANarchivo [Facultad de Ciencias de la Comunicación]
2024
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/CIPeCo/article/view/45976 |
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| Sumario: | The fact that contemporary socialization is also given through convergent means (Carlón, 2016) sustained on the icon-indiciality of the audiovisual image, leads us to rethink how we understand the dynamics of the visibility regime of our spectacular society (Debord, 2012) and how the artists of the transvestite performance intervene into discursive space. In this sense, the analysis of the presentations of self (Amossy, 2018) on Instagram reels arises as a methodology to evaluate the effects of politics of life (Fassin, 2018). The analyzed cases of drag performances on this platform expose two ways in which particular meanings are carved into this audiovisual material regarding drag art. Appearing on Instagram, for Furia, implies a way of making visible her individual skills and getting clients. For its part, Lola is presented as a drag queen that politicizes queer life through reading outloud queer marginalized authors. |
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