Abstract
In the sinking of the South Korean MV Sewol boat on 16 April 2014 (known as “Sewol”), mobile phones functioned across multiple forms of haunting—individual, collective, social, and cultural. These hauntings were intimate as they were public. They became repositories for damning camera phone footage taken by the now deceased of procedures gone wrong. While photography has always had a complicated relationship with power, representation and death, its relationship between the memory, image ownership, and dissemination is changing in the case of mobile visuality. The Sewol selfies created new forms of visualized and embodied collective trauma. Drawing from textual analysis along with ethnographic approaches, this chapter explores the powerful role camera phones play in processes of mourning and the making of digital intimate publics.
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Acknowledgements
This chapter discusses themes explored in greater detail in Katie Cumiskey and Larissa Hjorth entitled Haunting Hands (2017). Larissa would like to thank Amy Dobson, Brady Robards, and Nicholas Carah for their editorial brilliance.
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Hjorth, L. (2018). Snapshots of Afterlife: The Cultural Intimacies of Posthumous Camera Phone Practices. In: Dobson, A.S., Robards, B., Carah, N. (eds) Digital Intimate Publics and Social Media. Palgrave Studies in Communication for Social Change. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-97607-5_4
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