Brooke Erin Duffy

The romance of work: Gender and aspirational labour in the digital culture industries

Despite widespread interest in the changing technologies, economies and politics of creative labour, much of the recent cultural production scholarship overlooks the social positioning of gender. This article draws upon in-depth interviews with 18 participants in highly feminized sites of digital cultural production (e.g. fashion, beauty and retail) to examine how they articulate and derive value from their passionate activities. I argue that the discourses of authenticity, community building and brand devotion that they draw on are symptomatic of a highly gendered, forward-looking and entrepreneurial enactment of creativity that I term ‘aspirational labour’. Aspirational labourers pursue productive activities that hold the promise of social and economic capital; yet the reward system for these aspirants is highly uneven. Indeed, while a select few may realize their professional goals – namely to get paid doing what they love – this worker ideology obscures problematic constructions of gender and class subjectivities.

“Having it All” on Social Media: Entrepreneurial Femininity and Self-Branding Among Fashion Bloggers

Against the backdrop of the widespread individualization of the creative workforce, various genres of social media production have emerged from the traditionally feminine domains of fashion, beauty, domesticity, and craft. Fashion blogging, in particular, is considered one of the most commercially successful and publicly visible forms of digital cultural production. To explore how fashion bloggers represent their branded personae as enterprising feminine subjects, we conducted a qualitative analysis of the textual (n = 38 author narratives) and visual (n = 760 Instagram images) content published by leading fashion bloggers; we supplement this with in-depth interviews with eight full-time fashion/beauty bloggers. Through this data, we show how top-ranked bloggers depict the ideal of “having it all” through three interrelated tropes: the destiny of passionate work, staging the glam life, and carefully curated social sharing. Together, these tropes articulate a form of entrepreneurial femininity that draws upon post-feminist sensibilities and the contemporary logic of self-branding. We argue, however, that this socially mediated version of self-enterprise obscures the labor, discipline, and capital necessary to emulate these standards, while deploying the unshakable myth that women should work through and for consumption. We conclude by addressing how these findings are symptomatic of a digital media economy marked by the persistence of social inequalities of gender, race, class, and more.

Gendering The Labor Of Social Media Production

In recent years and against the backdrop of a creative economy marked by rapid innovation, a mushrooming independent workforce, and the much-vaunted ideal of entrepreneurialism, social media platfo...

Manufacturing Authenticity: The Rhetoric of "Real" in Women's Magazines

Discourses of authenticity are symptomatic of an era of destabilized communication hierarchies, participatory media, and reality television programming. Womens magazines are an apt site to examine articulations of authenticity given the genres traditional emphases on aspirational consumption and “making up” the external self. This study explores constructions of authenticity in the advertising and editorial content of two top-ranked publications, Glamour and Cosmopolitan. Drawing on a qualitative textual analysis of these magazines, the author conceptualizes three overlapping tropes of authenticity: (a) promoting natural, organic products; (b) the celebration of ordinary-looking women; and (c) the encouragement of inner-directed self-discovery. These striations of real products, real external beauty, and real internal beauty, respectively, allow authenticity to seep throughout the texts without fundamentally disrupting their traditional commercial function.

Gender and self-enterprise in the social media age: a digital double bind

ABSTRACT The profound growth of independent employment in post-industrial economies has paralleled a vibrant ethos of self-enterprise – one captured by the prodding assertion that ‘we’re all entrepreneurs now.’ Amidst ubiquitous technologies of production, distribution, and promotion, the ideal of entrepreneurialism has taken on a political valance: that is, individuals are ostensibly ‘empowered’ to pursue their passion projects in digital environments. This project brings gender politics to the fore of contemporary discourses of online entrepreneurship. We draw upon in-depth interviews with 22 independently employed female professionals, the majority of whom work in digital media/creative fields, to understand the role of social media in their self-starter careers. Many interviewees were compelled to develop and present online personae that conformed to traditional prescriptions for femininity – a quandary that we term the digital double bind. An updated version of the career impasse that female workers face in offline work environments, the digital double bind is structured through three distinct, yet interrelated, social media imperatives: (1) soft self-promotion; (2) interactive intimacy; and (3) compulsory visibility. Participants’ reflections on these imperatives emerge from the traditionally masculine-coded nature of entrepreneurship and its markers of success, which require female workers to assume additional risk and engage in invisible labor. The digital double bind is thus a testament to enduring structural inequalities that render female self-enterprise an inferior category of entrepreneurship; promises of digitally enabled meritocracy, we conclude, are largely superficial.

“Facebook for Academics”: The Convergence of Self-Branding and Social Media Logic on Academia.edu

Given widespread labor market precarity, contemporary workers—especially those in the media and creative industries—are increasingly called upon to brand themselves. Academics, we contend, are experiencing a parallel pressure to engage in self-promotional practices, particularly as universities become progressively more market-driven. Academia.edu, a paper-sharing social network that has been informally dubbed “Facebook for academics,” has grown rapidly by adopting many of the conventions of popular social media sites. This article argues that the astonishing uptake of Academia.edu both reflects and amplifies the self-branding imperatives that many academics experience. Drawing on Academia.edu’s corporate history, design decisions, and marketing communications, we analyze two overlapping facets of Academia.edu: (1) the site’s business model and (2) its social affordances. We contend that the company, like mainstream social networks, harnesses the content and immaterial labor of users under the guise of “sharing.” In addition, the site’s fixation on analytics reinforces a culture of incessant self-monitoring—one already encouraged by university policies to measure quantifiable impact. We conclude by identifying the stakes for academic life, when entrepreneurial and self-promotional demands brush up against the university’s knowledge-making ideals.

Constructing the Platform-Specific Self-Brand: The Labor of Social Media Promotion:

With the widespread uptake of social media, discourses and practices of self-branding have become a pervasive feature of social and economic life. However, the way in which the digital self-brand gets reproduced across a sprawling social media landscape remains comparatively under-theorized. Our paper therefore draws upon in-depth interviews with 52 online content creators—including designers, artists, writers, and marketing consultants—to examine how cultural workers present themselves across the panoply of social networking sites. As we show, workers’ self-presentation activities were structured through the production of a platform-specific self-brand, which was based upon the imaginations of (1) platform affordances, (2) audiences, and (3) the producer’s own self-concept. Our findings highlight producers’ compulsion to engage in continuous, cross-platform labor—despite widespread uncertainty about its economic outcomes. We conclude by addressing the stakes of a social media moment when workers of all stripes are prodded to incessantly curate, monitor, and ultimately invest in their online personae.

“You never really know who’s looking”: Imagined surveillance across social media platforms:

Social media users are routinely counseled to cultivate their online personae with acumen and diligence. But universal prescriptions for impression management may prove for vexing for college students, who confront oft-conflicting codes of normative self-presentation in digital contexts. Against this backdrop, our research sought to examine the online self-presentation activities of emerging adults (18–24) across an expansive social media ecology that included Facebook, Instagram, LinkedIn, Snapchat, and Twitter. Drawing upon in-depth interviews with 28 Fcollege-aged youth, we highlight how the imagined surveillance of various social actors steered their self-presentation practices in patterned ways. After exploring three distinct responses to imagined surveillance—including the use of privacy settings, self-monitoring, and pseudonymous accounts (including “Finstas,” or fake + Instagram)—we consider the wider implications of a cultural moment wherein users are socialized to anticipate the incessant monitoring of social institutions: family, educators, and above all, (future) employers.

Digital “women’s work?”: Job recruitment ads and the feminization of social media employment:

In the wake of profound transformations in digital media markets and economies, the structures and conditions of cultural production are being radically reconfigured. This study explores the nascent field of social media work through an analysis of job recruitment ads—texts, we contend, that provide insight into a key discursive site of imagining the ideal digital laborer. Drawing upon a qualitative textual analysis of 150 adverts, we show how employers construct workers through a patterned set of features, including sociability, deft emotional management, and flexibility. Such industrial imaginings incite workers to remain ever available, juggle various roles and responsibilities, and engage in persistent emotional labor—both online and off. These expectations, we argue, allude to the increasingly feminized nature of social media employment, with its characteristic invisibility, lower pay, and marginal status within the technology field.