2015, Pavica Sheldon, Social Media: Principles and Applications, page 43:
A perfect example of “Instafame” or a social media celebrity is Benjamin Lasnier, a teenage boy from Denmark, who achieved fame almost entirely through Instagram and YouTube.
2016, Stewart R. Clegg, Jochen Schweitzer, Andrea Whittle, & Christos Pitelis, Strategy: Theory and Practice, page 150:
Essena O'Neill achieved Instafame with more than 500,000 followers on the photo-sharing site Instagram, 250,000 YouTube fans and 60,000 Snapchat followers.
2016, Lachlan MacDowall, "#Instafame: Aesthetics, audiences, data", in Graffiti and Street Art: Reading, Writing and Representing the City (eds. Konstantinos Avramidis & Myrto Tsilimpounidi), page 247:
These are just some of the challenges of making and researching graffiti and street art in this Instafame era.
2019, Daniel Palmer & Kate Warren, "Scarlett Johansson Falling Down: Memes, Photography and Celebrity Personas", in Screening Scarlett Johansson: Gender, Genre, Stardom (eds. Janice Loreck, Kirsten Stevens, & Whitney Monaghan), page 127:
Ulman's project was an acerbic take on “Instafame,” a phenomenon that is reshaping and redefining the very idea of a “star” and their relationship to their audience.
2021, Vishesh Azad, "Backpacking The Instafame Post-Covid-19", Opportunities in Media Industry Post COVID-19 Pandemic (eds. Amit Chawla, Sayani Chawla, & Neha Bhushan), page 102:
[…] are some of the vloggers who shot up to Instafame in the past few years shuffling from mountains to beaches asserting travel goals to millions of viewers with quality content on budget and sustainable travel.
2021, Daniel Briggs, Luke Telford, Anthony Ellis, Anthony Lloyd, Justin Kotzé, Lockdown: Social Harm in the Covid-19 Era, page 132:
Lockdowns may take our freedom but not the aesthetic pleasure of a primed and tuned body, especially when this pleasure can be virtualised to enhance one's 'Instafame'.
2021, Rajibul Hasan & Malvika Billa, "Influencers' Impact on Business Model Innovation in the Luxury Personal Goods Industry", in Business Model Innovation: New Frontiers and Perspectives (eds. Demetris Vrontis, Evangelos Tsoukatos Rogdia, Gabriele Santoro, S.M. Riad Shams, & Yaakov Weber), unnumbered page:
Facebook and YouTube users moved over to the Instagram platform in hopes of gaining followers and achieving “Instafame,” […]
2021, Mehita Iqani, "First Ever Selfie Cover!'": Cosmopolitan Magazine, Inlfuencers, and the Mainstreaming of Selfie Style", in Self-Representation in an Expanded Field: From Self-Portraiture to Selfie, Contemporary Art in the Social Media Age (ed. Ace Lehner), page 168:
The tagline “the influencer issue” boldly states the reason for their treatment as celebrities: by virtue of having achieved instafame, they are now being validated in the iconic media genre that signals celebrity status: the magazine cover.
2021, L. Aya Saraswati, Pain Generation: Social Media, Feminist Activism, and the Neoliberal Selfie, page 50:
Race is both a visible and invisible element of [rupi] kaur's social media success and journey to Instafame.
2022, Stefanie Duguay, Personal But Not Private: Queer Women, Sexuality, and Identity Modulation on Digital Platforms, page 61:
She argues that such content is indicative of individuals' aspirations to mimic celebrity styles to attract attention, generating “Instafame.”
