Myra S. Washington
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496814227
- eISBN:
- 9781496814265
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814227.001.0001
- Subject:
- Sociology, Race and Ethnicity
This book examines the racialization of Blasians – mixed race people with Black and Asian ancestry – that neither sees them as new or unique, nor as a racial salve to move the United States past the ...
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This book examines the racialization of Blasians – mixed race people with Black and Asian ancestry – that neither sees them as new or unique, nor as a racial salve to move the United States past the problem of the colour line. The emergence of Blasian celebrities and the analyses of these stars acknowledges that to understand what and who is a Blasian means to first understand hegemonic notions of both Blacks and Asian/Americans. Contextualized against those dominant discourses Blasians explode the narrow boundaries of authenticity around racialized categories. Multiracial people are just as capable as monoracial people of upholding hierarchies of identity, as well as dismantling those hierarchies. Thus, in this book Blasians do not escape race, or erase race, but they do deconstruct normative instantiations of identity. The presence, mobility, and utility of these multiracial celebrities within both U.S. and global racial schemas simultaneously realize and complicate potential alternatives to racial and racist paradigms. These mixed race stars draw attention to how risible and absurd the biological and cultural premises for racialization truly are, and demonstrate potential alternatives for affiliation that do not rely on genetic material.Less
This book examines the racialization of Blasians – mixed race people with Black and Asian ancestry – that neither sees them as new or unique, nor as a racial salve to move the United States past the problem of the colour line. The emergence of Blasian celebrities and the analyses of these stars acknowledges that to understand what and who is a Blasian means to first understand hegemonic notions of both Blacks and Asian/Americans. Contextualized against those dominant discourses Blasians explode the narrow boundaries of authenticity around racialized categories. Multiracial people are just as capable as monoracial people of upholding hierarchies of identity, as well as dismantling those hierarchies. Thus, in this book Blasians do not escape race, or erase race, but they do deconstruct normative instantiations of identity. The presence, mobility, and utility of these multiracial celebrities within both U.S. and global racial schemas simultaneously realize and complicate potential alternatives to racial and racist paradigms. These mixed race stars draw attention to how risible and absurd the biological and cultural premises for racialization truly are, and demonstrate potential alternatives for affiliation that do not rely on genetic material.
Joel Nathan Rosen and Maureen M. Smith (eds)
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9781496809889
- eISBN:
- 9781496809926
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496809889.001.0001
- Subject:
- Sociology, Sport and Leisure
This collection takes a critical look at athletic celebrity on the part of athletes who enjoy worldwide reputations without necessarily breaking into the more narrowly defined North American sporting ...
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This collection takes a critical look at athletic celebrity on the part of athletes who enjoy worldwide reputations without necessarily breaking into the more narrowly defined North American sporting terrain. This volume, which chronicles the reputational arcs of athletes in such diverse sports as surfing, motocross, Grand Prix Racing, distance running, and even sumo wrestling, as well as more widespread competitions including tennis, cricket, and world football, to name but a few, are presented as a means to underscore the notion that sport, regardless of type and place, helps foster individual reputations that creates celebrities unique to those games.Less
This collection takes a critical look at athletic celebrity on the part of athletes who enjoy worldwide reputations without necessarily breaking into the more narrowly defined North American sporting terrain. This volume, which chronicles the reputational arcs of athletes in such diverse sports as surfing, motocross, Grand Prix Racing, distance running, and even sumo wrestling, as well as more widespread competitions including tennis, cricket, and world football, to name but a few, are presented as a means to underscore the notion that sport, regardless of type and place, helps foster individual reputations that creates celebrities unique to those games.
Gian Maria Annovi
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231180306
- eISBN:
- 9780231542708
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231180306.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Before his mysterious murder in 1975, Pier Paolo Pasolini had become famous—and infamous—not only for his groundbreaking films and literary works but also for his homosexuality and criticism of ...
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Before his mysterious murder in 1975, Pier Paolo Pasolini had become famous—and infamous—not only for his groundbreaking films and literary works but also for his homosexuality and criticism of capitalism, colonialism, and Western materialism. In Pier Paolo Pasolini: Performing Authorship, Gian Maria Annovi revisits Pasolini's oeuvre to examine the author's performance as a way of assuming an antagonistic stance toward forms of artistic, social, and cultural oppression. Annovi connects Pasolini's notion of authorship to contemporary radical artistic practices and today's multimedia authorship. Annovi considers the entire range of Pasolini's work, including his poetry, narrative and documentary film, dramatic writings, and painting, as well as his often scandalous essays on politics, art, literature, and theory. He interprets Pasolini's multimedia authorial performance as a masochistic act to elicit rejection, generate hostility, and highlight the contradictions that structure a repressive society. Annovi shows how questions of authorial self-representation and self-projection relate to the artist's effort to undermine the assumptions of his audience and criticize the conformist practices that the culture industry and mass society impose on the author. Pasolini reveals the critical potential of his spectacular celebrity by using the author's corporeal or vocal presence to address issues of sexuality and identity, and through his strategic self-fashioning in films, paintings, and photographic portraits he destabilizes the audience's assumptions about the author.Less
Before his mysterious murder in 1975, Pier Paolo Pasolini had become famous—and infamous—not only for his groundbreaking films and literary works but also for his homosexuality and criticism of capitalism, colonialism, and Western materialism. In Pier Paolo Pasolini: Performing Authorship, Gian Maria Annovi revisits Pasolini's oeuvre to examine the author's performance as a way of assuming an antagonistic stance toward forms of artistic, social, and cultural oppression. Annovi connects Pasolini's notion of authorship to contemporary radical artistic practices and today's multimedia authorship. Annovi considers the entire range of Pasolini's work, including his poetry, narrative and documentary film, dramatic writings, and painting, as well as his often scandalous essays on politics, art, literature, and theory. He interprets Pasolini's multimedia authorial performance as a masochistic act to elicit rejection, generate hostility, and highlight the contradictions that structure a repressive society. Annovi shows how questions of authorial self-representation and self-projection relate to the artist's effort to undermine the assumptions of his audience and criticize the conformist practices that the culture industry and mass society impose on the author. Pasolini reveals the critical potential of his spectacular celebrity by using the author's corporeal or vocal presence to address issues of sexuality and identity, and through his strategic self-fashioning in films, paintings, and photographic portraits he destabilizes the audience's assumptions about the author.
John Street, Sanna Inthorn, and Martin Scott
- Published in print:
- 2013
- Published Online:
- May 2015
- ISBN:
- 9780719085383
- eISBN:
- 9781781706121
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719085383.001.0001
- Subject:
- Political Science, UK Politics
The relationship between politics and popular culture is often seen to take one of two forms. Either popular culture is seen to disengage or pacify citizens; or it is portrayed as a source of ...
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The relationship between politics and popular culture is often seen to take one of two forms. Either popular culture is seen to disengage or pacify citizens; or it is portrayed as a source of political knowledge and expression. Such claims are rarely subjected to detailed scrutiny. From Entertainment to Citizenship is an attempt to make up this deficit by examining carefully how popular culture’s politics is understood and used. Focusing on the lives and experiences of 17-18 year olds in the UK, it explores the extent to which these young people use popular culture to think about and engage with politics. The book compares the political role of different forms of popular culture (video games, music and entertainment television), and it considers different dimensions of the relationship. It looks at the phenomenon of the ‘celebrity politician’, at popular culture as a source of knowledge about the ‘real world’ and at the group identities forged around the pleasures of music, TV and video games. We conclude that popular culture is an important source of knowledge about the world, that it helps forge identities and the interests associated with them, and it gives form to the evaluations of power and its exercise. Rarely, though, does this interplay of politics and popular culture happen in neat or straightforward ways.Less
The relationship between politics and popular culture is often seen to take one of two forms. Either popular culture is seen to disengage or pacify citizens; or it is portrayed as a source of political knowledge and expression. Such claims are rarely subjected to detailed scrutiny. From Entertainment to Citizenship is an attempt to make up this deficit by examining carefully how popular culture’s politics is understood and used. Focusing on the lives and experiences of 17-18 year olds in the UK, it explores the extent to which these young people use popular culture to think about and engage with politics. The book compares the political role of different forms of popular culture (video games, music and entertainment television), and it considers different dimensions of the relationship. It looks at the phenomenon of the ‘celebrity politician’, at popular culture as a source of knowledge about the ‘real world’ and at the group identities forged around the pleasures of music, TV and video games. We conclude that popular culture is an important source of knowledge about the world, that it helps forge identities and the interests associated with them, and it gives form to the evaluations of power and its exercise. Rarely, though, does this interplay of politics and popular culture happen in neat or straightforward ways.
Margaret Schwartz
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780816694334
- eISBN:
- 9781452953588
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816694334.001.0001
- Subject:
- Society and Culture, Media Studies
An Iconography of the Flesh theorizes the relationship between the body and the image by looking at the corpse as a special instance of a body that is both thing and representation. Unlike ...
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An Iconography of the Flesh theorizes the relationship between the body and the image by looking at the corpse as a special instance of a body that is both thing and representation. Unlike sociological or anthropological studies of death and funerary practice, this work takes as its starting point the special role of the photograph in modern mourning practices, particularly those surrounding public figures. Arguing that the evolving cultural understanding of photographic realism structures our relationship to the corpse, the book outlines a new politics of representation in which some bodies are more visible (and vulnerable) in death than others. An Iconography of the Flesh ultimately argues that death without a body is specific to the capitalist mode of social reproduction and its attendant alienation of meaningful representations of death in favor of ghostly figures of bare life that reflect the exploitation of those whose bodies are considered expendable.Less
An Iconography of the Flesh theorizes the relationship between the body and the image by looking at the corpse as a special instance of a body that is both thing and representation. Unlike sociological or anthropological studies of death and funerary practice, this work takes as its starting point the special role of the photograph in modern mourning practices, particularly those surrounding public figures. Arguing that the evolving cultural understanding of photographic realism structures our relationship to the corpse, the book outlines a new politics of representation in which some bodies are more visible (and vulnerable) in death than others. An Iconography of the Flesh ultimately argues that death without a body is specific to the capitalist mode of social reproduction and its attendant alienation of meaningful representations of death in favor of ghostly figures of bare life that reflect the exploitation of those whose bodies are considered expendable.
Myra S. Washington
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496814227
- eISBN:
- 9781496814265
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814227.003.0001
- Subject:
- Sociology, Race and Ethnicity
This chapter provides a foundation for understanding how media processes, institutions, and discourses have branded mixed race Black and Asian/American stars, making them legible and marketable ...
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This chapter provides a foundation for understanding how media processes, institutions, and discourses have branded mixed race Black and Asian/American stars, making them legible and marketable vis-à-vis the celebrity industrial complex. The use of transracial to denaturalize and disrupt normative racial categories is an attempt to theorize the ways mixed race people access or eschew racialized identities. Ultimately, representations of Blasians may push the limits of mediatized racialization and as such also push the limits for understanding racial authenticity.Less
This chapter provides a foundation for understanding how media processes, institutions, and discourses have branded mixed race Black and Asian/American stars, making them legible and marketable vis-à-vis the celebrity industrial complex. The use of transracial to denaturalize and disrupt normative racial categories is an attempt to theorize the ways mixed race people access or eschew racialized identities. Ultimately, representations of Blasians may push the limits of mediatized racialization and as such also push the limits for understanding racial authenticity.
Kendra Marston
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474430296
- eISBN:
- 9781474453608
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474430296.003.0001
- Subject:
- Film, Television and Radio, Film
The introductory section opens with a discussion of Lars von Trier’s 2011 film Melancholia, examining this text’s significance as part of a broader cultural moment in which the depressive episodes of ...
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The introductory section opens with a discussion of Lars von Trier’s 2011 film Melancholia, examining this text’s significance as part of a broader cultural moment in which the depressive episodes of white women are used to provide commentary on the moral decay of the Western world. It situates the book’s analysis within the fields of postfeminist media studies and critical race and whiteness studies. The Hollywood manifestation of postfeminist melancholia is attributed to several factors, including a resurgence of interest in feminist politics, conflicts in US race relations, and the shifting image of the US internationally. It then argues for the examination of this cinematic figure’s relationship to a politics of white hegemony, briefly exploring Hollywood’s history of utilising stories involving ethnic appropriation as a means of assuaging national anxieties associated with earlier socio-political movements, such as the civil rights movement and sexual revolution.Less
The introductory section opens with a discussion of Lars von Trier’s 2011 film Melancholia, examining this text’s significance as part of a broader cultural moment in which the depressive episodes of white women are used to provide commentary on the moral decay of the Western world. It situates the book’s analysis within the fields of postfeminist media studies and critical race and whiteness studies. The Hollywood manifestation of postfeminist melancholia is attributed to several factors, including a resurgence of interest in feminist politics, conflicts in US race relations, and the shifting image of the US internationally. It then argues for the examination of this cinematic figure’s relationship to a politics of white hegemony, briefly exploring Hollywood’s history of utilising stories involving ethnic appropriation as a means of assuaging national anxieties associated with earlier socio-political movements, such as the civil rights movement and sexual revolution.
Kendra Marston
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474430296
- eISBN:
- 9781474453608
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474430296.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter analyses Hollywood tourist romances Eat Pray Love and Under the Tuscan Sun as examples of texts in which the burdened white woman transcends her melancholic state as a result of ...
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This chapter analyses Hollywood tourist romances Eat Pray Love and Under the Tuscan Sun as examples of texts in which the burdened white woman transcends her melancholic state as a result of travelling beyond US borders. The female protagonists in both films are creative writers who feel stifled by their urban environments and discover that the value systems they encounter outside the US allow them to feel creatively reinvigorated as well as liberated from societal dictates that declare true happiness to reside in marriage, upward mobility, and bodily discipline. In these films, the tourist zone must appear to exist independently of the globalising forces of neoliberal capitalism, with the heroines’ belief that they are divinely guided on a spiritual journey of self-discovery constituting a shift away from the secular ideologies of neoliberalism and postfeminism, while also operating as a form of white exceptionalism within the foreign space.Less
This chapter analyses Hollywood tourist romances Eat Pray Love and Under the Tuscan Sun as examples of texts in which the burdened white woman transcends her melancholic state as a result of travelling beyond US borders. The female protagonists in both films are creative writers who feel stifled by their urban environments and discover that the value systems they encounter outside the US allow them to feel creatively reinvigorated as well as liberated from societal dictates that declare true happiness to reside in marriage, upward mobility, and bodily discipline. In these films, the tourist zone must appear to exist independently of the globalising forces of neoliberal capitalism, with the heroines’ belief that they are divinely guided on a spiritual journey of self-discovery constituting a shift away from the secular ideologies of neoliberalism and postfeminism, while also operating as a form of white exceptionalism within the foreign space.
Kendra Marston
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474430296
- eISBN:
- 9781474453608
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474430296.003.0008
- Subject:
- Film, Television and Radio, Film
The conclusion discusses the recent changes that have occurred in Hollywood as a result of backlash over a lack of industry diversity, both onscreen and behind the camera. It points to the recent ...
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The conclusion discusses the recent changes that have occurred in Hollywood as a result of backlash over a lack of industry diversity, both onscreen and behind the camera. It points to the recent successes of films with predominantly African American casts at the Academy Awards, and hypothesises as to how the reception of such films by both industry professionals and audiences may have changed in the Trump era. In addition, the concluding chapter explores how the book’s arguments may resonate beyond the US context.Less
The conclusion discusses the recent changes that have occurred in Hollywood as a result of backlash over a lack of industry diversity, both onscreen and behind the camera. It points to the recent successes of films with predominantly African American casts at the Academy Awards, and hypothesises as to how the reception of such films by both industry professionals and audiences may have changed in the Trump era. In addition, the concluding chapter explores how the book’s arguments may resonate beyond the US context.
Raymond Boyle and Richard Haynes
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748635924
- eISBN:
- 9780748671083
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635924.003.0005
- Subject:
- Society and Culture, Media Studies
Examines the role sport plays in celebrity culture. Looks at how television and the media create sports stars. It examines the implications of this process for the media and sport.
Examines the role sport plays in celebrity culture. Looks at how television and the media create sports stars. It examines the implications of this process for the media and sport.
Roberta Wue
- Published in print:
- 2014
- Published Online:
- September 2017
- ISBN:
- 9789888208463
- eISBN:
- 9789888313280
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208463.003.0003
- Subject:
- Art, Art History
Examines the relationships between Shanghai artists and their public and the establishment of these relationships through Shanghai’s growing mass media outlets. By exploiting the city’s burgeoning ...
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Examines the relationships between Shanghai artists and their public and the establishment of these relationships through Shanghai’s growing mass media outlets. By exploiting the city’s burgeoning newspaper and publishing industries, artists promoted themselves as public figures and marketed themselves, their products and activities; through the mass media, they were able to access audiences on local, national and even international levels. By using newspaper advertising and articles, guide books, popular periodicals and collected writings, this chapter reveals the formation of the art world’s public image, promoted for consumption by an urban audience and mass readership.Less
Examines the relationships between Shanghai artists and their public and the establishment of these relationships through Shanghai’s growing mass media outlets. By exploiting the city’s burgeoning newspaper and publishing industries, artists promoted themselves as public figures and marketed themselves, their products and activities; through the mass media, they were able to access audiences on local, national and even international levels. By using newspaper advertising and articles, guide books, popular periodicals and collected writings, this chapter reveals the formation of the art world’s public image, promoted for consumption by an urban audience and mass readership.
Sean Bell
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9781496809889
- eISBN:
- 9781496809926
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496809889.003.0003
- Subject:
- Sociology, Sport and Leisure
Italy’s Valentino Rossi is the most popular motorcycle racer of his day. This chapter examines Rossi’s dominance in motorsport, while also providing the reader with a broad understanding of ...
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Italy’s Valentino Rossi is the most popular motorcycle racer of his day. This chapter examines Rossi’s dominance in motorsport, while also providing the reader with a broad understanding of motorsport, as well as the risk involved in motorsport. Rossi has served as an international ambassador for his sport, helping to popularize motorcycle racing around the globe.Less
Italy’s Valentino Rossi is the most popular motorcycle racer of his day. This chapter examines Rossi’s dominance in motorsport, while also providing the reader with a broad understanding of motorsport, as well as the risk involved in motorsport. Rossi has served as an international ambassador for his sport, helping to popularize motorcycle racing around the globe.
Rowland Atkinson and Sarah Blandy
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781784995300
- eISBN:
- 9781526121035
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784995300.003.0006
- Subject:
- Sociology, Urban and Rural Studies
Defence has always been a primary element in home design; this chapter traces the ebbs and flows of fortification over time, tracing back the contemporary alternative features of withdrawal and ...
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Defence has always been a primary element in home design; this chapter traces the ebbs and flows of fortification over time, tracing back the contemporary alternative features of withdrawal and aggressive defence to their origins. These responses, mirroring the well-known 'flight or fight' reactions, are illustrated through reference to celebrity homes and incidents of crimes against them. Here we address the technologies and architectural features which are designed to counter the risks that assail the home as haven and the fears passed on from parents which inform our internalised expectations as adults. Diverse forms of home protection and insurance have become the central and non-negotiable demands of increasingly affluent western societies, and meeting these demands has boosted the profits of security companies. We argue that the recent increase in defensive technologies has turned homes into the architectural representation of our fears, from which we can never be truly free. We now fear to stop fearing, with the contemporary homeowner forever in a state of heightened anxiety.Less
Defence has always been a primary element in home design; this chapter traces the ebbs and flows of fortification over time, tracing back the contemporary alternative features of withdrawal and aggressive defence to their origins. These responses, mirroring the well-known 'flight or fight' reactions, are illustrated through reference to celebrity homes and incidents of crimes against them. Here we address the technologies and architectural features which are designed to counter the risks that assail the home as haven and the fears passed on from parents which inform our internalised expectations as adults. Diverse forms of home protection and insurance have become the central and non-negotiable demands of increasingly affluent western societies, and meeting these demands has boosted the profits of security companies. We argue that the recent increase in defensive technologies has turned homes into the architectural representation of our fears, from which we can never be truly free. We now fear to stop fearing, with the contemporary homeowner forever in a state of heightened anxiety.
Eva Cheuk Yin Li
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9789888390809
- eISBN:
- 9789888390441
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390809.003.0008
- Subject:
- Society and Culture, Gay and Lesbian Studies
This chapter explores the entanglement between queer desires and struggles with normativities in fandoms through the case study of Denise Ho (a.k.a. HOCC) in Hong Kong. HOCC is one of the few ...
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This chapter explores the entanglement between queer desires and struggles with normativities in fandoms through the case study of Denise Ho (a.k.a. HOCC) in Hong Kong. HOCC is one of the few celebrities in the Chinese-language entertainment industry to have come out as a lesbian. Data is drawn from participant observation and semi-structured interviews with 29 fans between 2009 and 2014. By analyzing the interplay between Hong Kong sexual cultures, fans’ everyday lives, and fans’ interactions with global media, it is found that fans struggled with negotiating HOCC’s gender and sexuality and their own before HOCC’s coming-out, leading to the paradoxical celebration and self-policing of queer reading at the same time. HOCC’s coming out in 2012 has significantly reshaped her queer fandom. It is observed that fans have turned their attention to the negotiation of HOCC’s “proper” lesbian embodiment as the “correct” representation of the LGBT/tongzhi movement. By revealing the complex relations between heteronormativity and homonormativity, this chapter concludes that HOCC fans in Hong Kong, who are situated within macrostructural and micropolitical forces, desire to be queer by transgressing normal and paradoxically desire to be normal by tactically negotiating the limits of queer.Less
This chapter explores the entanglement between queer desires and struggles with normativities in fandoms through the case study of Denise Ho (a.k.a. HOCC) in Hong Kong. HOCC is one of the few celebrities in the Chinese-language entertainment industry to have come out as a lesbian. Data is drawn from participant observation and semi-structured interviews with 29 fans between 2009 and 2014. By analyzing the interplay between Hong Kong sexual cultures, fans’ everyday lives, and fans’ interactions with global media, it is found that fans struggled with negotiating HOCC’s gender and sexuality and their own before HOCC’s coming-out, leading to the paradoxical celebration and self-policing of queer reading at the same time. HOCC’s coming out in 2012 has significantly reshaped her queer fandom. It is observed that fans have turned their attention to the negotiation of HOCC’s “proper” lesbian embodiment as the “correct” representation of the LGBT/tongzhi movement. By revealing the complex relations between heteronormativity and homonormativity, this chapter concludes that HOCC fans in Hong Kong, who are situated within macrostructural and micropolitical forces, desire to be queer by transgressing normal and paradoxically desire to be normal by tactically negotiating the limits of queer.
Gian Maria Annovi
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231180306
- eISBN:
- 9780231542708
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231180306.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism
Chapter Three discusses the conditions for the strategic branding of Pasolini’s authorship in the Italian media during the 60s, and his attitude to celebrity culture. In this chapter, I consider the ...
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Chapter Three discusses the conditions for the strategic branding of Pasolini’s authorship in the Italian media during the 60s, and his attitude to celebrity culture. In this chapter, I consider the idea of performing authorship in the terms of self-fictionalization and masquerade. In particular, in his short film La ricotta (The Ricotta, 1964), which represents the first example of the spectacularization of Pasolini’s authorship, he projects his authorial self onto the figure of American star director Orson Welles. An outsider of the studio system, Welles furnishes Pasolini a model for an auteur who persistently seeks out a performative mode, putting himself in play as the author alongside the other characters. At the same time, through the figure of this star director, Pasolini also expresses his uncompromising attitude toward celebrity culture and culture industry. In La rabbia (The Rage, 1963)—created through montages of unused film footage from a film archive—Pasolini uses another international star, Marilyn Monroe, to stage his ambivalence towards the role of his own representation in the media. For Pasolini, Monroe’s death becomes a tragic, symbolic form of subjective resistance and a protest against the conformist system of celebrity that they both confronted.Less
Chapter Three discusses the conditions for the strategic branding of Pasolini’s authorship in the Italian media during the 60s, and his attitude to celebrity culture. In this chapter, I consider the idea of performing authorship in the terms of self-fictionalization and masquerade. In particular, in his short film La ricotta (The Ricotta, 1964), which represents the first example of the spectacularization of Pasolini’s authorship, he projects his authorial self onto the figure of American star director Orson Welles. An outsider of the studio system, Welles furnishes Pasolini a model for an auteur who persistently seeks out a performative mode, putting himself in play as the author alongside the other characters. At the same time, through the figure of this star director, Pasolini also expresses his uncompromising attitude toward celebrity culture and culture industry. In La rabbia (The Rage, 1963)—created through montages of unused film footage from a film archive—Pasolini uses another international star, Marilyn Monroe, to stage his ambivalence towards the role of his own representation in the media. For Pasolini, Monroe’s death becomes a tragic, symbolic form of subjective resistance and a protest against the conformist system of celebrity that they both confronted.
Anita Helle
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780813062204
- eISBN:
- 9780813051895
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062204.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
For many readers who have engaged Anne Sexton’s work, her play before the camera in photographs (both still and moving images) is inextricably linked to dynamics of woman’s looked-at-ness and to ...
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For many readers who have engaged Anne Sexton’s work, her play before the camera in photographs (both still and moving images) is inextricably linked to dynamics of woman’s looked-at-ness and to modes of confessional display. As Sexton’s fame has grown —in her era and in ours—her legacy in photographs has been treated a problem, an issue, an aspect of celebrity to be summarily dismissed (“exhibitionistic”) or selectively disavowed in the interest of a putatively more serious interest in a body of artistic work. This chapter presents an alternative, materially inspired reading of Sexton’s public authorial legend and the photographic references in her writing in which those two bodies—the lyric body and the photographed body—are less comfortably divisible.Less
For many readers who have engaged Anne Sexton’s work, her play before the camera in photographs (both still and moving images) is inextricably linked to dynamics of woman’s looked-at-ness and to modes of confessional display. As Sexton’s fame has grown —in her era and in ours—her legacy in photographs has been treated a problem, an issue, an aspect of celebrity to be summarily dismissed (“exhibitionistic”) or selectively disavowed in the interest of a putatively more serious interest in a body of artistic work. This chapter presents an alternative, materially inspired reading of Sexton’s public authorial legend and the photographic references in her writing in which those two bodies—the lyric body and the photographed body—are less comfortably divisible.
Jennie Chapman
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9781617039034
- eISBN:
- 9781621039891
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039034.003.0007
- Subject:
- Literature, American, 20th Century Literature
This chapter examines changing evangelical attitudes towards media, technology, and celebrity through an analysis of their depiction in Left Behind. In the modern period, American evangelicals have ...
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This chapter examines changing evangelical attitudes towards media, technology, and celebrity through an analysis of their depiction in Left Behind. In the modern period, American evangelicals have embraced television, film, and the internet as the most effective tools of evangelism at their disposal, a shift in attitudes that is evident in Left Behind. The novels repudiate Marshall McLuhan’s claim that ‘the medium is the message’ by showing evangelicals seizing the technology of the Antichrist for the cause of Christ; they thus effect the erasure of the medium itself in order to elevate the agency and intention of its human user. The chapter also discusses the figure of the celebrity preacher in the novels in relation to notions of authority and idolatry, suggesting that celebrity preachers are depicted as a technology of affect that mediates believers’ relationship with the divine.Less
This chapter examines changing evangelical attitudes towards media, technology, and celebrity through an analysis of their depiction in Left Behind. In the modern period, American evangelicals have embraced television, film, and the internet as the most effective tools of evangelism at their disposal, a shift in attitudes that is evident in Left Behind. The novels repudiate Marshall McLuhan’s claim that ‘the medium is the message’ by showing evangelicals seizing the technology of the Antichrist for the cause of Christ; they thus effect the erasure of the medium itself in order to elevate the agency and intention of its human user. The chapter also discusses the figure of the celebrity preacher in the novels in relation to notions of authority and idolatry, suggesting that celebrity preachers are depicted as a technology of affect that mediates believers’ relationship with the divine.
Felicity Chaplin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781526109538
- eISBN:
- 9781526128263
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526109538.003.0007
- Subject:
- Film, Television and Radio, Film
In cinema, theParisienne type is often overdetermined by the star incarnating the role, pointing to more extra-cinematic considerations in the construction of la Parisienne in cinema. Certain actors ...
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In cinema, theParisienne type is often overdetermined by the star incarnating the role, pointing to more extra-cinematic considerations in the construction of la Parisienne in cinema. Certain actors possess a Parisienne iconographical profile which develops out of intra-, inter-, and extra-cinematic considerations. In any Parisienne film, there are three possible ways la Parisienne can appear on screen: first, played by an actor who is not a star; second, played by an actor who is a star but who does not possess a Parisienne iconographical profile; and lastly, played by an actor who is a star and who also possesses a Parisienne iconographical profile. The self-fashioning aspect of Parisienne stars was in part facilitated by the absence of a rigorous star system in France during the 1950s and 1960s, which allowed French female stars in particular to take a more active role in the development of their personae. Certain stars in particular have contributed to the evolution of the type, including Brigitte Bardot’s coquettish ingénue, Jeanne Moreau’s cerebral and sensual mature woman, Anna Karina’s gamine and Charlotte Gainsbourg’s bourgeois bohemian.Less
In cinema, theParisienne type is often overdetermined by the star incarnating the role, pointing to more extra-cinematic considerations in the construction of la Parisienne in cinema. Certain actors possess a Parisienne iconographical profile which develops out of intra-, inter-, and extra-cinematic considerations. In any Parisienne film, there are three possible ways la Parisienne can appear on screen: first, played by an actor who is not a star; second, played by an actor who is a star but who does not possess a Parisienne iconographical profile; and lastly, played by an actor who is a star and who also possesses a Parisienne iconographical profile. The self-fashioning aspect of Parisienne stars was in part facilitated by the absence of a rigorous star system in France during the 1950s and 1960s, which allowed French female stars in particular to take a more active role in the development of their personae. Certain stars in particular have contributed to the evolution of the type, including Brigitte Bardot’s coquettish ingénue, Jeanne Moreau’s cerebral and sensual mature woman, Anna Karina’s gamine and Charlotte Gainsbourg’s bourgeois bohemian.
Deborah Longworth
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780813054421
- eISBN:
- 9780813053165
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813054421.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
Few figures have been so renowned and yet so critically dismissed within the history of literary modernism as Edith, Osbert and Sacheverell Sitwell. For a time in the early 1920s they were the ...
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Few figures have been so renowned and yet so critically dismissed within the history of literary modernism as Edith, Osbert and Sacheverell Sitwell. For a time in the early 1920s they were the leading personalities of London’s immediately post-war modernist haut bohemia, and the embodiment of the modernist avant-garde as it was perceived in the popular imagination. One of the reasons for their disappearance from histories of the emergence of English modernism, is perhaps that the Sitwellian brand of avant-gardism was so distinct from the classicist aesthetic standard by which modernism would subsequently come to be defined. This chapter examines a cult of “ornamental modernism” in the 1920s, of which the Sitwells were the figureheads; an impulse that we find in works that embrace the extravagant, the theatrical, or the eccentric; that turn to the decadent, baroque, and rococo rather than the classical for their models, that foreground artistic celebrity rather than impersonality, and in which performance and façades dominate rather than formalist clean lines or the direct articulation of subjective consciousness. It is an alternative trend in experimental art that overtly positions itself in antagonism with the conservative artistic and cultural tendencies of the period, but that also sits awkwardly in relation to the standard and revisionary histories of avant-garde and modernist experiment, exemplifying instead an ornamental aesthetic that has been all but obliterated from subsequent literary and art history.Less
Few figures have been so renowned and yet so critically dismissed within the history of literary modernism as Edith, Osbert and Sacheverell Sitwell. For a time in the early 1920s they were the leading personalities of London’s immediately post-war modernist haut bohemia, and the embodiment of the modernist avant-garde as it was perceived in the popular imagination. One of the reasons for their disappearance from histories of the emergence of English modernism, is perhaps that the Sitwellian brand of avant-gardism was so distinct from the classicist aesthetic standard by which modernism would subsequently come to be defined. This chapter examines a cult of “ornamental modernism” in the 1920s, of which the Sitwells were the figureheads; an impulse that we find in works that embrace the extravagant, the theatrical, or the eccentric; that turn to the decadent, baroque, and rococo rather than the classical for their models, that foreground artistic celebrity rather than impersonality, and in which performance and façades dominate rather than formalist clean lines or the direct articulation of subjective consciousness. It is an alternative trend in experimental art that overtly positions itself in antagonism with the conservative artistic and cultural tendencies of the period, but that also sits awkwardly in relation to the standard and revisionary histories of avant-garde and modernist experiment, exemplifying instead an ornamental aesthetic that has been all but obliterated from subsequent literary and art history.
Tony Cokes
- Published in print:
- 2016
- Published Online:
- October 2016
- ISBN:
- 9780190600181
- eISBN:
- 9780190600211
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190600181.003.0011
- Subject:
- Political Science, Political Theory, Comparative Politics
This chapter discusses the circumstances around producing the video “Face Value: von Trier, Bowie, Kanye” (2015). The work began in 2006 as a text about the credits sequence of Lars von Trier’s film ...
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This chapter discusses the circumstances around producing the video “Face Value: von Trier, Bowie, Kanye” (2015). The work began in 2006 as a text about the credits sequence of Lars von Trier’s film Manderlay. I trace that text’s subsequent revisions and contexts that led to researching rants by von Trier himself (Cannes 2011), David Bowie, whose song “Young Americans” is the soundtrack for the Manderlay credits, and Kanye West, a later artist known for making provocative public statements. In the process, the written work morphed into a text animation using Bowie, von Trier, and West quotes to underline how references to fascism, race, ethnicity, religion, and violence continue to figure in “controversial” public utterances by artists. I then return my attention to Manderlay’s closing montage, considering how its images relate to the sound, the authors’ perspectives, their possible audience effects, and the issues of race that sequence symptomatize.Less
This chapter discusses the circumstances around producing the video “Face Value: von Trier, Bowie, Kanye” (2015). The work began in 2006 as a text about the credits sequence of Lars von Trier’s film Manderlay. I trace that text’s subsequent revisions and contexts that led to researching rants by von Trier himself (Cannes 2011), David Bowie, whose song “Young Americans” is the soundtrack for the Manderlay credits, and Kanye West, a later artist known for making provocative public statements. In the process, the written work morphed into a text animation using Bowie, von Trier, and West quotes to underline how references to fascism, race, ethnicity, religion, and violence continue to figure in “controversial” public utterances by artists. I then return my attention to Manderlay’s closing montage, considering how its images relate to the sound, the authors’ perspectives, their possible audience effects, and the issues of race that sequence symptomatize.
