This Media Studies research project delves into the intersection of historical archival self-portraiture and contemporary selfie culture. Guided by Ariella Aïsha Azoulay's concept of The Civil Contract of Photography, which regards a photograph as a collaborative interaction between photographer and subject, it examines the transformative interplay of photographer and subject roles through the lens of mobile phone technology, where these roles increasingly converge.

In today's digital era, selfies have emerged as a prominent form of self-expression, capturing the social, political, and economic shifts of our time. These images, taken in various settings and situations, serve as declarations of existence and progress. They offer individuals a means to chronicle their lives.

This study examines archival selfies from 1839 to the 1920s, including multiple-exposure, tripod-free, and mirror selfies. Through the reconstruction of historical images via mobile phone selfies, I analyse the dual experience of being both photographer and subject, along with technical aspects such as composition and focus.

A critical examination of selfies uncovers their significant role as a medium for self-expression and introspection, particularly during periods of isolation or when other forms of communication are constrained. They provide a platform for asserting my stance and individuality. By engaging in this dialogue between historical practices and modern techniques, I strive to uncover deeper meanings within the continuously evolving digital landscape.