{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/5f66449b15900927b3b2cb06/5fd860646220ba2b1e68f0ac?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"Refugee Selfies and the Media of Migration","description":"<p>In this week's episode, guest Eszter Zimanyi discusses her article <a href=\"http://mediafieldsjournal.org/digital-transience/\" rel=\"noopener noreferrer\" target=\"_blank\">\"Digital Transience: </a><a href=\"http://mediafieldsjournal.org/digital-transience/2017/1/6/digital-transience-emplacement-and-authorship-in-refugee-sel.html\" rel=\"noopener noreferrer\" target=\"_blank\">Emplacement and Authorship in Refugee&nbsp;Selfies</a>\" which analyzes \"refugee selfies\" collected from Instagram's Explore Places map feature as an alternative viewpoint on the so-called 2015 European refugee crisis. Zimanyi argues that that refugee selfies are best conceived as a form of <em>digital transience</em> that provide the refugee with a sense of emplacement in a particular location along with an archive of their movement across locations. At the same time, these digital posts also prompt a disruptive affective charge that forces other viewers of the image to contend with the precarity of the refugee’s existence in any location.</p>","author_name":"Juan Llamas-Rodriguez"}