By Su Holmes, Sean Redmond
Celebrity tradition has a pervasive presence in our daily lives – maybe extra so than ever sooner than. It shapes now not easily the creation and intake of media content material but additionally the social values wherein we adventure the realm. This assortment analyses this phenomenon, bringing jointly essays which discover star throughout more than a few media, cultural and political contexts.
The authors examine issues equivalent to the intimacy of status, political famous person, stardom in American ‘quality’ tv (Sarah Jessica Parker), superstar 'reality' television (I’m a star … Get Me Out of Here!), the movement of the porn celebrity, the gallery movie (David/David Beckham), the concept that of caricature famous person (The Simpsons), fandom and famous person (k.d. lang, *NSYNC), megastar within the tabloid press, famous person magazines (heat, big name Skins), the celebrity of the serial killer and narratives of psychological disorder in superstar tradition.
The assortment is equipped into 4 themed sections:
- Fame Now generally examines the modern contours of popularity as they path via new media websites (such as 'reality' television and the web) and varied social, cultural and political areas.
- Fame physique makes an attempt to situate the big name or big name physique on the centre of the construction, movement and intake of latest fame.
- Fame Simulation considers the more and more strained dating among megastar and artifice and ‘authenticity’.
- Fame harm appears to be like on the manner the illustration of status is certain up with auto-destructive traits or dissolution.
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Extra info for Framing Celebrity: New directions in celebrity culture
However, what I would like to suggest is that this type of para-social connectivity is as 'real' as anything can be in a cultural universe made out of simulacra, and that the relationships that emerge between starI celebrity and fanl consumer fill the world with productive, surplus emotionality that cannot be easily channelled or 'sucked up' by capitalism, and which offers people transgressive models of identity. The relationship between the star or celebrity and the commodity is a useful reference point to return to.
There can be no single perspective, no secret key by which we can unlock what it really is (Braudy, 1986: 591). Braudy captures here how fame is 'both fickle and incredibly enduring' (Marshall, 2004); it has a history - both in terms of its development and the public individuals it produces - while it also revels in the ephemeral flash of the moment. It leaves behind traces of representation - 'in which people tell stories about themselves and stories are told about them' (Braudy, 1986: 591) - and these shape our understandings of the past.
Although undoubtedly a figure of national, rather than international fame, Abi achieved celebrity status during 2003, when her celebrity boyfriend, John Leslie, was accused of raping another woman. Abi stood by her partner throughout the trial and Leslie, a former children's TV presenter turned daytime TV host, was subsequently acquitted of the crime. But the intense media focus on the event also meant that Abi, a middleclass former nurse, had edged into the media spotlight. With his image irrevocably tarnished by the media coverage, Leslie has since receded from public view, while Abi has enjoyed immense visibility, whether through glamour modelling for 'lads' mags', the circulation of pornographic footage on the internet, appearances in celebrity reality shows, or relationships with male celebrities.