Pub Date : 2022-07-10DOI: 10.1080/19392397.2022.2099644
Dusty Gavin
{"title":"Beyoncé in the world: making meaning with Queen Bey in troubled times","authors":"Dusty Gavin","doi":"10.1080/19392397.2022.2099644","DOIUrl":"https://doi.org/10.1080/19392397.2022.2099644","url":null,"abstract":"","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"13 1","pages":"618 - 620"},"PeriodicalIF":1.5,"publicationDate":"2022-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44274032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-10DOI: 10.1080/19392397.2022.2099648
Yue Cao
{"title":"Wanghong as Social Media Entertainment in China","authors":"Yue Cao","doi":"10.1080/19392397.2022.2099648","DOIUrl":"https://doi.org/10.1080/19392397.2022.2099648","url":null,"abstract":"","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"13 1","pages":"620 - 623"},"PeriodicalIF":1.5,"publicationDate":"2022-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41727439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-04DOI: 10.1080/19392397.2022.2095923
Olle Sjögren
ABSTRACT In December 2019, a Swedish climate activist was appointed Person of the Year by Time Magazine. Greta Thunberg was only 15 when she inspired a wave of school strikes and protest marches. She stole the media attention at a series of global summits, until public gatherings and international travels were interrupted by the pandemic. The aim of this article is to highlight a short but intense celebritisation process with culture-bound responses. First, I will establish Thunberg’s deep roots in a Nordic children’s culture, which defends bio-diversity with ‘superhoney’ and science. Then, I will compare the strong impact of an ecological Wunderkind in the EU with the polarised reactions in the US. In the conclusion, I will relate Thunberg’s activist strategy and persona to other types of eco-celebrities and discuss the significance of diverging time horizons.
{"title":"Ecological Wunderkind and heroic trollhunter: the celebrity saga of Greta Thunberg","authors":"Olle Sjögren","doi":"10.1080/19392397.2022.2095923","DOIUrl":"https://doi.org/10.1080/19392397.2022.2095923","url":null,"abstract":"ABSTRACT In December 2019, a Swedish climate activist was appointed Person of the Year by Time Magazine. Greta Thunberg was only 15 when she inspired a wave of school strikes and protest marches. She stole the media attention at a series of global summits, until public gatherings and international travels were interrupted by the pandemic. The aim of this article is to highlight a short but intense celebritisation process with culture-bound responses. First, I will establish Thunberg’s deep roots in a Nordic children’s culture, which defends bio-diversity with ‘superhoney’ and science. Then, I will compare the strong impact of an ecological Wunderkind in the EU with the polarised reactions in the US. In the conclusion, I will relate Thunberg’s activist strategy and persona to other types of eco-celebrities and discuss the significance of diverging time horizons.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42782011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/19392397.2022.2103260
G. Franssen
Supposedly, as the saying goes, it is very lonely at the top. However, one of the many insights that the field of celebrity studies has brought forward is that, in reality, it is very crowded at the top. Celebrities are never really alone and have hardly any privacy: on a daily basis, they are moulded by producers, pressured by public image advisors, harangued by paparazzi, and closely eyed by uncountable fans and often unrelenting critics. Celebrity culture, at its core, is a culture of surveillance: rarely does the star have a moment alone. Little then, that mental distress is part and parcel of being a individual. beings, of can live the same conditions as such as personality disorders or panic attacks. Yet at the same time, they are confronted with forms of mental distress that are arguably the result of their fame. They struggle with high expectations of global audiences, a profound split between their public and private self, and the pressure of being the keystone in global economic infrastructures built around their work and image. This Forum issue brings together two insightful contributions that explore how celebrities deal with such pressures and how their fans and critics respond to it.
{"title":"Gendering mental distress in celebrity culture: introduction","authors":"G. Franssen","doi":"10.1080/19392397.2022.2103260","DOIUrl":"https://doi.org/10.1080/19392397.2022.2103260","url":null,"abstract":"Supposedly, as the saying goes, it is very lonely at the top. However, one of the many insights that the field of celebrity studies has brought forward is that, in reality, it is very crowded at the top. Celebrities are never really alone and have hardly any privacy: on a daily basis, they are moulded by producers, pressured by public image advisors, harangued by paparazzi, and closely eyed by uncountable fans and often unrelenting critics. Celebrity culture, at its core, is a culture of surveillance: rarely does the star have a moment alone. Little then, that mental distress is part and parcel of being a individual. beings, of can live the same conditions as such as personality disorders or panic attacks. Yet at the same time, they are confronted with forms of mental distress that are arguably the result of their fame. They struggle with high expectations of global audiences, a profound split between their public and private self, and the pressure of being the keystone in global economic infrastructures built around their work and image. This Forum issue brings together two insightful contributions that explore how celebrities deal with such pressures and how their fans and critics respond to it.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"13 1","pages":"467 - 469"},"PeriodicalIF":1.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42973312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-03DOI: 10.1080/19392397.2022.2083521
Laurie Venters, Alexander D. Rothenberg
ABSTRACT South Korea is well known for its industrialist approach to the creation of idol groups. This article demonstrates the correlation between exploitive managerial practices, widely employed in the production of idols, and their resultant effects on individual autonomy. We first situate the agency-idol system in Korea’s contemporary neoliberal landscape, before proceeding to outline how the recruitment and training of female performers deliberately fosters dependence. Next, we illustrate how bodily shaping — in the form of weight loss and plastic surgery — and objectification serve to delimit personal autonomy. Exacting beauty standards, in turn, contribute to the imposition of highly restrictive somatic identities, affording idols little to no room for agentic experimentation. Increased dependency, in conjunction with the forced assumption of dollified personas, amounts to an effective reduction in autonomous capacity, re-enforcing the notion that K-pop is a site of patriarchal disciplining.
{"title":"Trammelled stars: the non-autonomy of female K-pop idols","authors":"Laurie Venters, Alexander D. Rothenberg","doi":"10.1080/19392397.2022.2083521","DOIUrl":"https://doi.org/10.1080/19392397.2022.2083521","url":null,"abstract":"ABSTRACT South Korea is well known for its industrialist approach to the creation of idol groups. This article demonstrates the correlation between exploitive managerial practices, widely employed in the production of idols, and their resultant effects on individual autonomy. We first situate the agency-idol system in Korea’s contemporary neoliberal landscape, before proceeding to outline how the recruitment and training of female performers deliberately fosters dependence. Next, we illustrate how bodily shaping — in the form of weight loss and plastic surgery — and objectification serve to delimit personal autonomy. Exacting beauty standards, in turn, contribute to the imposition of highly restrictive somatic identities, affording idols little to no room for agentic experimentation. Increased dependency, in conjunction with the forced assumption of dollified personas, amounts to an effective reduction in autonomous capacity, re-enforcing the notion that K-pop is a site of patriarchal disciplining.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41512519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-18DOI: 10.1080/19392397.2022.2054143
Inger H. Dalsgaard
{"title":"Keeping Thomas Pynchon private: the limits to studying an ‘anonymous’ celebrity","authors":"Inger H. Dalsgaard","doi":"10.1080/19392397.2022.2054143","DOIUrl":"https://doi.org/10.1080/19392397.2022.2054143","url":null,"abstract":"","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43174443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/19392397.2022.2063405
S. Thomas
ABSTRACT This article examines Keanu Reeves’ role in the John Wick franchise, studying the tensions that lie between studio-managed intellectual property networks and star brand. A valuable star vehicle, John Wick embedded Reeves’ star persona within its filmic fabric, reinvigorating his star status beyond the digital memes that characterised him as the twenty-first century unfolded. John Wick was swiftly franchised, becoming an important media property in its own right, in dialogue with but also separate from Reeves’ own stardom as it expanded into a transmedia multiverse. The franchise therefore reflects wider intersections and negotiations between celebrity, star power, business strategy, and licensed properties in contemporary media industries. This article traces the production and reception around the three released John Wick films, along with their marketing and paratextual materials and multiplatform adaptations, which increasingly deviate from using Reeves as a central star figure. It investigates the value of stardom within Hollywood franchise texts, focusing on the transformative effect of John Wick on Reeves’ image and brand, the different ways in which stars stand as authenticating figures in franchise cultures, and how Reeves’ own star status is simultaneously challenged and affirmed by the franchise that has come to define his later screen career.
{"title":"Keanu Reeves, John Wick, and the myths and tensions between star brands and franchise properties","authors":"S. Thomas","doi":"10.1080/19392397.2022.2063405","DOIUrl":"https://doi.org/10.1080/19392397.2022.2063405","url":null,"abstract":"ABSTRACT This article examines Keanu Reeves’ role in the John Wick franchise, studying the tensions that lie between studio-managed intellectual property networks and star brand. A valuable star vehicle, John Wick embedded Reeves’ star persona within its filmic fabric, reinvigorating his star status beyond the digital memes that characterised him as the twenty-first century unfolded. John Wick was swiftly franchised, becoming an important media property in its own right, in dialogue with but also separate from Reeves’ own stardom as it expanded into a transmedia multiverse. The franchise therefore reflects wider intersections and negotiations between celebrity, star power, business strategy, and licensed properties in contemporary media industries. This article traces the production and reception around the three released John Wick films, along with their marketing and paratextual materials and multiplatform adaptations, which increasingly deviate from using Reeves as a central star figure. It investigates the value of stardom within Hollywood franchise texts, focusing on the transformative effect of John Wick on Reeves’ image and brand, the different ways in which stars stand as authenticating figures in franchise cultures, and how Reeves’ own star status is simultaneously challenged and affirmed by the franchise that has come to define his later screen career.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"13 1","pages":"244 - 258"},"PeriodicalIF":1.5,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49154364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/19392397.2022.2063974
Michelle Cho
Abstract This cultural report contextualizes K-pop group BTS’s history of engagement with Black pop cultural forms, to aid in assessing the significance of the group’s support for BLM organizations and anti-racist activism following the murder of George Floyd in the summer of 2020. While providing a counter-narrative to that of inter-ethnic antagonism that has been a feature of media discourse on Black-Korean relations in the US, since the 1980s, the report also provides an overview of the online organizing and protest strategies of BTS fans in the BLM movement, and the subsequent discourse about K-pop’s politicization that emerged in media coverage and on social media platforms; By bringing these accounts together, the essay aims to enrich our understanding of the political significance of emergent fan identities, while emphasizing the need for historical grounding in our discussions of race and transnational pop cultural phenomena.
{"title":"BTS for BLM: K-pop, Race, and Transcultural Fandom","authors":"Michelle Cho","doi":"10.1080/19392397.2022.2063974","DOIUrl":"https://doi.org/10.1080/19392397.2022.2063974","url":null,"abstract":"Abstract This cultural report contextualizes K-pop group BTS’s history of engagement with Black pop cultural forms, to aid in assessing the significance of the group’s support for BLM organizations and anti-racist activism following the murder of George Floyd in the summer of 2020. While providing a counter-narrative to that of inter-ethnic antagonism that has been a feature of media discourse on Black-Korean relations in the US, since the 1980s, the report also provides an overview of the online organizing and protest strategies of BTS fans in the BLM movement, and the subsequent discourse about K-pop’s politicization that emerged in media coverage and on social media platforms; By bringing these accounts together, the essay aims to enrich our understanding of the political significance of emergent fan identities, while emphasizing the need for historical grounding in our discussions of race and transnational pop cultural phenomena.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"13 1","pages":"270 - 279"},"PeriodicalIF":1.5,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47230405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/19392397.2022.2063395
Tanya Horeck
ABSTRACT This essay examines the memefication of Keanu Reeves in 21st century digital remix culture, exploring the cultural investment in an idea of him as being ‘too good for this world’. To reflect on how Reeves, in the middle-aged period of his stardom, has become a receptacle for good will and positive affect, the essay situates his internet stardom in relation to the rise of the ‘sad man’ meme. Exploring the networked affective processes through which Reeves' star persona has taken on recharged cultural significance, the essay argues that the surge of internet memes surrounding the actor work to articulate cultural anxieties and desires surrounding male stardom in a post-cinematic, #MeToo era. While the essay explores how the cultural adulation of Reeves wards off deep-seated concerns about male stardom as a central site for the reproduction of toxic masculinity, it concludes by sounding a cautionary note about the risks and limitations of such worship.
{"title":"‘Too good for this world:’ Keanu Reeves, God of the Internet","authors":"Tanya Horeck","doi":"10.1080/19392397.2022.2063395","DOIUrl":"https://doi.org/10.1080/19392397.2022.2063395","url":null,"abstract":"ABSTRACT This essay examines the memefication of Keanu Reeves in 21st century digital remix culture, exploring the cultural investment in an idea of him as being ‘too good for this world’. To reflect on how Reeves, in the middle-aged period of his stardom, has become a receptacle for good will and positive affect, the essay situates his internet stardom in relation to the rise of the ‘sad man’ meme. Exploring the networked affective processes through which Reeves' star persona has taken on recharged cultural significance, the essay argues that the surge of internet memes surrounding the actor work to articulate cultural anxieties and desires surrounding male stardom in a post-cinematic, #MeToo era. While the essay explores how the cultural adulation of Reeves wards off deep-seated concerns about male stardom as a central site for the reproduction of toxic masculinity, it concludes by sounding a cautionary note about the risks and limitations of such worship.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"13 1","pages":"143 - 158"},"PeriodicalIF":1.5,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41383315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/19392397.2022.2063397
Danielle Nielsen, Diane Sabenacio Nititham
ABSTRACT Contemporary meme culture keeps Keanu Reeves’ image at the forefront of our imagination. Numerous Keanu-related memes circulate on the internet, featuring images of him from on and off screen. In this article, we argue that the rise of user-generated content, such as memes and social media, requires us to reconsider how audiences and fans consume, adapt, and circulate Keanu’s stardom. Specifically, we contend that memes and their attending participatory culture make Keanu familiar by placing him in knowable spaces and perpetuating his extraordinary ordinariness. To do so, we examine the 2019 ‘Keanu Reeves Walking in Slow Motion’ video clip from Always by My Maybe and the memes generated by users. First, we explore the purpose of celebrity memes and participatory culture, examining the ways in which Keanu’s image and persona is defined within this culture. Second, using a cross-media analysis, we define the recent meme genre ‘audioshop’, and explore how ‘Keanu Reeves Walking in Slow Motion’ enables audiences to use their prior knowledge of Keanu’s persona to more fully engage with the meme and its possible interpretations. Finally, we discuss how meme culture objectifies and commodifies celebrity, arguing that celebritisation through meme production amplifies Keanu’s persona and cross-media presence.
{"title":"Celebrity memes, audioshop, and participatory fan culture: a case study on Keanu Reeves memes","authors":"Danielle Nielsen, Diane Sabenacio Nititham","doi":"10.1080/19392397.2022.2063397","DOIUrl":"https://doi.org/10.1080/19392397.2022.2063397","url":null,"abstract":"ABSTRACT Contemporary meme culture keeps Keanu Reeves’ image at the forefront of our imagination. Numerous Keanu-related memes circulate on the internet, featuring images of him from on and off screen. In this article, we argue that the rise of user-generated content, such as memes and social media, requires us to reconsider how audiences and fans consume, adapt, and circulate Keanu’s stardom. Specifically, we contend that memes and their attending participatory culture make Keanu familiar by placing him in knowable spaces and perpetuating his extraordinary ordinariness. To do so, we examine the 2019 ‘Keanu Reeves Walking in Slow Motion’ video clip from Always by My Maybe and the memes generated by users. First, we explore the purpose of celebrity memes and participatory culture, examining the ways in which Keanu’s image and persona is defined within this culture. Second, using a cross-media analysis, we define the recent meme genre ‘audioshop’, and explore how ‘Keanu Reeves Walking in Slow Motion’ enables audiences to use their prior knowledge of Keanu’s persona to more fully engage with the meme and its possible interpretations. Finally, we discuss how meme culture objectifies and commodifies celebrity, arguing that celebritisation through meme production amplifies Keanu’s persona and cross-media presence.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"13 1","pages":"159 - 170"},"PeriodicalIF":1.5,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47350430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：