Vertikale klipp og Insta-firkanter på det store lerretet
Estetisk identifikasjon i teen tech-filmer
DOI:
https://doi.org/10.52610/rhs.v30i91.362Nyckelord:
Teen tech film, Digital aesthetics, Cluster analysis, Dramatistic hexad, Identification, Aesthetic affectAbstract
I dagens digitale kultur engasjerer unge voksne seg aktivt i estetikk som et middel for selvrepresentasjon og delte erfaringer, særlig gjennom plattformer som TikTok og Instagram. Denne artikkelen undersøker hvordan digitale estetiske uttrykk gjenspeiles i teen tech-filmen, en undergenre av ungdomsfilm som integrerer sosiale medier og digitale grensesnitt både i fortellingen og visuell form. Med fokus på den belgiske filmen Home (Troch, 2016), benytter studien Kenneth Burkes klyngeanalyse og dramatistiske heksade for å undersøke hvordan digitale estetiske valg kan påvirke affektive former for identifikasjon hos et ungt publikum. Gjennom analyse av vertikale klipp og Instagram-lignende bilderammer i filmens visuelle språk argumenterer artikkelen for at teen tech-filmer gjør mer enn å skildre ungdomskultur: De viser hvordan sosiale mediers estetikk kan brukes retorisk til å skape (kinematografiske) former for tilhørighet og identifikasjon.
Referenser
Adam, A., & Rutten, K. (2025). “Elusive, Symbolic, and Nameless”: Theorising Aesthetic as
Rhetoric Through Josephine. Topoi, 1-12. https://doi.org/10.1007/s11245-025-10352-8
Baker, C., Schleser, M., & Molga, K. (2009). Aesthetics of mobile media art. Journal of Media
Practice, 10(2–3), 101–122. https://doi.org/10.1386/jmpr.10.2-3.101_1
Berry, D. M., van Dartel, M., Dieter, M., Kasprzack, M., Muller, N., O’Reilly, R., & de Vicente, J.
L. (2012). New aesthetic, new anxieties. V2_ Publishers.
Berry, M., & Schleser, M. (Eds.). (2014). Mobile media making in an age of smartphones.
Springer.
Blakesley, D. (2003). The terministic screen: Rhetorical perspectives on film. Southern Illinois
University Press.
Blakesley, D. (2004). Defining film rhetoric: The case of Hitchcock’s Vertigo. In C. A. Hill & M.
Helmers (Eds.), Defining visual rhetorics (pp. 111–134). Lawrence Erlbaum Associates.
Bordwell, D. (2012). Poetics of cinema. Routledge.
Bordwell, D., Thompson, K., & Smith, J. (2010). Film art: An introduction (Vol. 7). McGraw-
Hill.
boyd, d. (2011). Social network sites as networked publics: Affordances, dynamics, and implications. In Z. Papacharissi (Ed.), A networked self (pp. 39–58). Routledge.
https://doi.org/10.4324/9780203876527
Booth, W. (2004). The rhetoric of rhetoric: The quest for effective communication. Wiley-Blackwell.
Braun, L. N., & Mateus, A. M. V. (2024). Contemporary ethnographic aesthetics: The TikTok
turn. Visual Anthropology, 37(3), 195–211. https://doi.org/10.1080/08949468.2024.2330268
Bruns, A. (2008). Blogs, Wikipedia, Second Life, and beyond: From production to produsage (Vol.
. Peter Lang.
Burke, K. (1966). Language as symbolic action. University of California Press.
Burke, K. (1969a). A grammar of motives. University of California Press.
Burke, K. (1969b). A rhetoric of motives. University of California Press.
Burke, K. (1973). The philosophy of literary form: Studies in symbolic action (3rd ed.).
University of California Press.
Caldeira, S. P. (2023). Instagrammable feminisms: Aesthetics and attention-seeking strategies
on Portuguese feminist Instagram. Convergence. https://doi.org/10.1177/13548565231171048
Cinéart. (n.d.). Home (2016) film still [Photograph]. Cinéart. https://www.cineart.nl/pers/home
Colling, S. (2014). The aesthetic pleasures of girl teen film [Doctoral dissertation, Manchester
Metropolitan University].
Dickinson, K. (2001). Pop, speed and the ‘MTV aesthetic’ in recent teen films. Scope: An Online
Journal of Film Studies.
Driver, S., & Coulter, N. (2018). Introduction: Open-ended and curious explorations of youth
mediations and affective relations. In S. Driver & N. Coulter (Eds.), Youth mediations and
affective relations (pp. 1–14). Palgrave Macmillan. https://doi.org/10.1007/978-3-319-
-6
Edbauer Rice, J. (2008). The New “New”: Making a Case for Critical Affect Studies. Quarterly
Journal of Speech, 94(2), 200–212. https://doi.org/10.1080/00335630801975434
Explore Zone Jury. (2016). Julia Ducournau wint met Grave de Explore Award 2016. Film Fest
Gent. https://www.filmfestival.be/nl/nieuws/eclectisch-film-kijken-de-explore-zone-jury
Foss, S. K. (2004a). Framing the study of visual rhetoric: Toward a transformation of rhetorical
theory. In C. A. Hill & M. H. Helmers (Eds.), Defining visual rhetorics (pp. 303–314).
Lawrence Erlbaum Associates. https://doi.org/10.4324/9781410609977
Foss, S. K. (2004b). Rhetorical Criticism: Exploration & Practice (3rd ed.). Waveland Press.
Franco, A. B. (2023). The aesthetic value of film. Journal of Aesthetic Education, 57(2), 36–53.
https://doi.org/10.5406/15437809.57.2.03
Gansinger, M. A., & Al-Aridi, K. (2023). Pseudo-individualization? An analysis of the incorporation
of subcultures into commodified aesthetics on TikTok. In M. A. Gansinger & A. Kole (Eds.), Media technology in education: Uganda and beyond (pp. 222–249). Ethics International
Press.
Guerrero-Pico, M., Masanet, M.-J., & Scolari, C. A. (2019). Toward a typology of young produsers:
Teenagers’ transmedia skills, media production, and narrative and aesthetic appreciation.
New Media & Society, 21(2), 336–353. https://doi.org/10.1177/1461444818796470
Hayles, N. K. (2000). How we became posthuman: Virtual bodies in cybernetics, literature, and
informatics. University of Chicago Press.
Hebdige, D. (1979). Subculture: The meaning of style. Routledge.
Hodgson, J. (2019). Post-digital rhetoric and the new aesthetic. Ohio State University Press.
Israel, S. B. (2010). Inter-action movies: Multi-protagonist films and relationism. In M.
Grishakova & M. Ryan (Eds.), Intermediality and storytelling (pp. 122–146). De Gruyter.
JEF. (2016). Home [Lesmap]. https://www.jeugdfilm.be/film-zoeken/home?lesmap=1
Kimberling, C. R. (1982). Kenneth Burke’s dramatism and popular arts. Popular Press.
Klevan, A. (2018). Aesthetic evaluation and film. Manchester University Press.
Krijnen, T., & Van Bauwel, S. (2021). Gender and media: Representing, producing, consuming.
Routledge.
Leff, M. (1992). Things made by words: Reflections on textual criticism. Quarterly Journal of
Speech, 78(2), 223–231. https://doi.org/10.1080/00335639209383991
Manovich, L. (2019). The aesthetic society: Instagram as a life form. Retrieved
from https://www.academia.edu/41332065/The_Aesthetic_Society_Instagram_as_a_Life_F
orm
Mateus, S. (2018). Affective rhetoric: what it is and why it matters. In L. Zhang & C. Clark
(Eds.), Affect, Emotion, and Rhetorical Persuasion in Mass Communication (pp. 67-80).
Routledge. https://doi.org/10.4324/9781351242370
McLuhan, M. (1964). Understanding media: The extensions of man. MIT Press.
Neal, D., & Ross, M. (2018). Mobile framing: Vertical videos from user-generated content to
corporate marketing. In M. Schleser & M. Berry (Eds.), Mobile story making in an age of
smartphones (pp. 151–160). Palgrave Macmillan. https://doi.org/10.1007/978-3-319-76795-
_15
Paßmann, J., & Schubert, C. (2021). Liking as taste making: Social media practices as generators
of aesthetic valuation and distinction. New Media & Society, 23(10), 2861–3136. https://
doi.org/10.1177/1461444820939458
Perez, G. (2019). The eloquent screen: A rhetoric of film. University of Minnesota Press.
Reid, K. (2004). The Hay-Wain: Cluster analysis in visual communication. In S. Foss (Ed.),
Rhetorical criticism: Exploration & practice (3rd ed., pp. 78–93). Waveland Press.
Rutten, K., & Soetaert, R. (2011). Intermediality, rhetoric, and pedagogy. CLCWeb: Comparative
Literature and Culture, 13(3). https://doi.org/10.7771/1481-4374.1797
Schreiber, M. (2017). Audiences, aesthetics and affordances: Analysing practices of visual communication on social media. Digital Culture & Society, 3(2), 143–164. https://doi.org/10.14361/dcs-2017-0209
Shary, T. (2005). Teen movies: American youth on screen. Wallflower Press.
Slater, J. B. (2018). Style unbounded: Somatic figuration, play, and sublimity in the stylistic
(re)turn and Kenneth Burke’s writings about style [Unpublished doctoral dissertation]. University of Minnesota.
Smith, F. (2017). Rethinking the Hollywood teen movie: Gender, genre and identity. Edinburgh
University Press. https://doi.org/10.1515/9781474413107
Tarvainen, J., Westman, S., & Oittinen, P. (2015). The way films feel: Aesthetic features and
mood in film. Psychology of Aesthetics, Creativity, and the Arts, 9(3), 254–265.
https://doi.org/10.1037/a0039432
Troch, F. (Director). (2016). Home [Film still]. Cineart. https://www.cineart.nl/pers/home
Troch, F. (2016). Home [Film]. Prime Time & Versus Production.
van Dijck, J., & Poell, T. (2013). Understanding social media logic. Media and communication,
(1), 2-14.
##submission.downloads##
Publicerad
Referera så här
Nummer
Sektion
Licens
Copyright (c) 2026 Rhetorica Scandinavica
Detta verk är licensierat under en Creative Commons Erkännande-Ickekommersiell-IngaBearbetningar 4.0 Internationell-licens.
Open Access; CC Erkännande-IckeKommersiell-IngaBearbetningar 4.0
