The “Estranged Self”. Selfie Through the Gaze of Amateur Drone
Abstract
The aim of this article is to investigate the practices of mediatization of the self through the analysis of the dronie, i.e. the custom of taking selfies using the amateur-drone camera. Given the increased presence of commercial and amateur drones in our “media habits”, it is necessary to investigate their characteristicsand the consequences of integrating these technologies into domestic user interaction. This paper, therefore, focuses on the personal use of the amateur drone, on the subject–object relationship, and on the consequent, mediatized, subject’s experience. Starting from the concept of hybrid agency between the media-object and the user, the analysis focuses on ten flight and shooting experiences from a subjective point of view. Adopting an exploratory approach to the topic, the research is conducted through an auto-drone-technography that allows two main elements to be observed: the relationship between operator–drone–subject; and the mediatization of the self through the estranged gaze of the dronie. These two elements are then discussed from the principles underlying the logic of the selfie, highlighting the continuities and differences between the two practices.
Keywords
Full Text:
PDFReferences
Agostinho, D., Maurer, K., & Veel, K. (2020). Introduction to the sensorial experience of the drone. The Senses and Society, 15(3), 251–258. https://doi.org/10.1080/17458927.2020.1820195
Casagrande, G. (2023). On Our Little Drones: Senses, Violence and the Space. Institute of Network Cultures. https://networkcultures.org/blog/publication/our-little-drones/
Casagrande, G., Khaddar, M.A., & Parisi, S. (2020). Technology and the local community: Uses of drones in #NoDAPL movement and Dandora dumpsite storytelling. American Behavioral Scientist, 64(13), 1906–1920. https://doi.org/10.1177/0002764220952133
Chamayou, G. (2013). Théorie du drone. La Fabrique.
Couldry, N., & Hepp, A. (2013). Conceptualising mediatization: Contexts, traditions, arguments. Communication Theory, 23(3), 191–202. https://doi.org/10.1111/comt.12019
Couldry N., & Hepp A. (2017). The Mediated Construction of Reality. Polity Press.
Faimau, G. (2020). Towards a theoretical understanding of the selfie: A descriptive review. Sociology Compass, 14(12), 1–12. https://doi.org/10.1111/soc4.12840
Frosh, P. (2018). The Poetics of Digital Media. Polity.
Gaeta, A. (2024). The drone’s other target: The generative aesthetics of drone hobbyists’ love. In B. Pong & M. Richardson (Eds.), Drone Aesthetics: War, Culture, Ecology (pp. 128–144). Open Humanities Press.
Garrett, B.L., & McCosker, A. (2017). Non-human sensing: New methodologies for the drone assemblage. In E. Gómez-Cruz, S. Sumartojo, & S. Pink (Eds.), Refiguring Techniques in Digital Visual Research, Digital Ethnography (pp. 13–23). Palgrave Macmillan.
Hepp, A. (2022). Agency, social relations, and order: Media sociology’s shift into the digital. Communications, 47(3), 470–493. https://doi.org/10.1515/commun-2020-0079
Hess, A. (2015). The selfie assemblage. International Journal of Communication, 9, 1629–1646.
Hildebrand, J.M. (2020). Drone mobilities and auto-technography. In M. Büscher, M. Freudendal-Pedersen, S. Kesselring, & N. Grauslund Kristensen (Eds.), Handbook of Research Methods and Applications For Mobilities (pp. 92–101). Edward Elgar Publishing. https://doi.org/10.4337/9781788115469.00016
Hildebrand, J.M. (2021). Aerial Play. Drone Medium, Mobility, Communication, and Culture. Palgrave Macmillan.
Hildebrand, J.M. (2024). The tourist drone: Commercial visions and practical considerations. In E. Serafinelli (Ed.), Drones in Society. A New Visual Aesthetic (pp. 161–173). Palgrave Macmillan.
Jablonowski, M. (2020). Beyond drone vision: the embodied telepresence of first-person-view drone flight. The Senses and Society, 15(3), 344–358. https://doi.org/10.1080/17458927.2020.1814571
Jackman, A. (2017). Sensing. Society for Cultural Anthropology Editor’s Forum: Theorizing the Contemporary, 27 June 2017. https://culanth.org/fieldsights/sensing
Kaplan, C. (2024). Everyday militarisms: Drones and the blurring of the civilian-military divide during COVID-19. In B. Pong & M. Richardson (Eds.), Drone Aesthetics: War, Culture, Ecology (pp. 98–114). Open Humanities Press.
Kien, G. (2008). Technography = technology + ethnography. Qualitative Inquiry, 14(7), 1101–1109. https://doi.org/10.1177/1077800408318433
Latour, B. (2007). Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford University Press.
O’Hagan, L.A., & Serafinelli, E. (2023). Rethinking verticality through top-down views in drone hobbyist photography. Visual Studies, 39(4), 535–548. https://doi.org/10.1080/1472586X.2023.2201239
Pong, B. (2024). The “politics of the faceless”: Proliferated drone’s-eye views of forced migration. Cultural Politics, 20(1), 112–135. https://doi.org/10.1215/17432197-10969253
Richardson, M. (2020). Drone cultures: Encounters with everyday militarisms. Continuum, 34, 858–869. https://doi.org/10.1080/10304312.2020.1842125
Serafinelli, E. (2024). Drones in Society. Social Visualities. Palgrave Macmillan.
Shah, R., & Tewari, R. (2016). Demystifying ‘selfie’: A rampant social media activity. Behaviour & Information Technology, 35(10), 864–871. https://doi.org/10.1080/0144929X.2016.1201693
Swelberg, R. (2018). On the uses of exploratory research and exploratory studies in social science. http://people.soc.cornell.edu/swedberg/On%20the%20Uses%20of%20Exploratory%20 Research%20and%20Exploratory%20Studies%20in%20Social%20Science.pdf
Vannini, P., & Vannini, A. (2008). Of walking shoes, boats, golf carts, bicycles, and a slow technoculture: A technography of movement and embodied media on Protection Island. Qualitative Inquiry, 14(7), 1272–1301. https://doi.org/10.1177/1077800408322708
DOI: http://dx.doi.org/10.17951/ms.2025.9.27-41
Date of publication: 2026-01-07 15:22:18
Date of submission: 2024-12-03 15:43:26
Statistics
Indicators
Refbacks
- There are currently no refbacks.
Copyright (c) 2026 Gaia Casagrande

This work is licensed under a Creative Commons Attribution 4.0 International License.