Snow White stares into the bathroom mirror, her right knee awkwardly placed on the counter-top, and her tongue poking out. She holds up an iPhone, taking a picture of herself with head tilted just so, and a seductive expression.
José Rodolfo Loaiza Ontiveros‘ reworking of Snow White is yet another example of the particular way in which photography is used within the construction of social hierarchies. The gallery hosting his work calls it “a celebration of creative freedom in our time”. I would argue that it is perhaps more a reflection of contemporary anxieties, with none more blatant in its condemnation than the image of Snow White. For she is that most debased of creatures: she is a selfie-taker.
What makes this image particularly interesting is that the artist has made specific changes to the character to – supposedly – fit with what she is doing. Her blue vest and red underwear barely cover her ample body, with the lines around her stomach particularly exaggerated.
Given that selfie-taking is simply the practice of photographing oneself, it is telling to see in what ways Snow White has been physically altered in this image. The problematic connotations of the selfie are here written onto her very body, implying that in order to ‘be’ a selfie-taker, Snow White must also be made into whatever that type of person is: depicted here as considerably heavier and with clothing and pose that are unflattering. She is not like this unintentionally – the artist has chosen to specifically make her overweight and over-sexualised, as that is what selfies mean to him and to wider culture.
This kind of stereotyping should not be surprising to me, having collected so many examples that depict a connection between low-valued photographic behaviours and low-valued subjectivities, yet there is an added dimension to this specific condemnation of the selfie-taker.
Other Disney characters are depicted in controversial ways within this series, with same-sex couples kissing and getting married, Cinderella daubing graffiti and Mickey having apparently turned into Christ. But what I find most interesting is that two of the images, that show characters taking drugs and getting drunk, do so without these activities having changed their bodies at all. Belle and Sleeping Beauty can drink bottles of wine, and Goofy and Donald can skin up, but none of these activities affect them – they do not actually mark and distort them – in the way that selfie-taking is constructed as doing.
This depiction of the body of the selfie-taker is fascinating, as it demonstrates the cultural values associated with certain practices. Drinking and taking drugs is here something that the characters do, whereas selfie-taking impacts upon – and is telling of – the character’s very self.
Although these images are humorous, the warning here is clear: you can’t take selfies without being a selfie-taker, and selfie-takers cannot help but be devalued, cheapened and rendered physically different from their former selves.