Pub Date : 2023-01-02DOI: 10.1080/19392397.2022.2159674
L. Soberon
ABSTRACT In the last decade, Hugh Grant has been going through something resembling a career revival. After retreating from his roles as an English gentleman and romantic lead during the mid-2000s, Grant has recently re-emerged to garner critical acclaim in productions, such as Paddington 2 (2017), The Gentlemen (2019), and The Undoing (2020). What these roles have in common is that Grant has abandoned his days as prince charming in favour of a series of unlikeable characters and morally complex villains. This article analyses how this turn to villain signifies a renegotiation of Hugh Grant’s star image and how this career revival stands into contact with his previous persona. Combining a close reading of some of Grant’s recent films, together with a discussion of press discourse and interviews, I account for how Grant’s villain performances are shaped and mediated by different artistic, commercial, and discursive forces. As such, I elucidate how Grant’s renegotiation of his image helps distances himself from his previous career phase, is utilised by filmmakers to subvert audience expectations, and invites us to question the patriarchal and English imperialist attitudes that lay embedded in his previous performances.
{"title":"Razor-sharp charms: Hugh Grant’s image renegotiation and the turn to villains","authors":"L. Soberon","doi":"10.1080/19392397.2022.2159674","DOIUrl":"https://doi.org/10.1080/19392397.2022.2159674","url":null,"abstract":"ABSTRACT In the last decade, Hugh Grant has been going through something resembling a career revival. After retreating from his roles as an English gentleman and romantic lead during the mid-2000s, Grant has recently re-emerged to garner critical acclaim in productions, such as Paddington 2 (2017), The Gentlemen (2019), and The Undoing (2020). What these roles have in common is that Grant has abandoned his days as prince charming in favour of a series of unlikeable characters and morally complex villains. This article analyses how this turn to villain signifies a renegotiation of Hugh Grant’s star image and how this career revival stands into contact with his previous persona. Combining a close reading of some of Grant’s recent films, together with a discussion of press discourse and interviews, I account for how Grant’s villain performances are shaped and mediated by different artistic, commercial, and discursive forces. As such, I elucidate how Grant’s renegotiation of his image helps distances himself from his previous career phase, is utilised by filmmakers to subvert audience expectations, and invites us to question the patriarchal and English imperialist attitudes that lay embedded in his previous performances.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"14 1","pages":"101 - 117"},"PeriodicalIF":1.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44618611","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 : 2023-01-02DOI: 10.1080/19392397.2022.2159672
Lydia Millington
ABSTRACT With its attempts at humour, loosely controlled expressive behaviour and balance of haughtiness and deference, Hugh Grant’s testimony for the Leveson inquiry is rich territory for the analysis of celebrity self-presentation that complicates the dichotomous paradigm of ‘persona’ versus ‘veridical self’. Through detailed analysis of Grant’s physicality and use of prosody, this article focuses on his performance of status and use of humour during the cross-examination. These are contextualised within his diegetic and interview performances to argue that, in this presentation of self, Grant showcases his comedic performance technique but seems less concerned with presenting a signature set of mannerisms, which scholars have noted conventional star performance entails. Rather, Grant performs his celebrity status through a posture of stiff hauteur, which enables the humour in his self-deprecating remarks, both of which are key elements of his persona.
{"title":"Just a famous actor sitting in front of a judge: Hugh Grant’s presentation of self in the Leveson inquiry","authors":"Lydia Millington","doi":"10.1080/19392397.2022.2159672","DOIUrl":"https://doi.org/10.1080/19392397.2022.2159672","url":null,"abstract":"ABSTRACT With its attempts at humour, loosely controlled expressive behaviour and balance of haughtiness and deference, Hugh Grant’s testimony for the Leveson inquiry is rich territory for the analysis of celebrity self-presentation that complicates the dichotomous paradigm of ‘persona’ versus ‘veridical self’. Through detailed analysis of Grant’s physicality and use of prosody, this article focuses on his performance of status and use of humour during the cross-examination. These are contextualised within his diegetic and interview performances to argue that, in this presentation of self, Grant showcases his comedic performance technique but seems less concerned with presenting a signature set of mannerisms, which scholars have noted conventional star performance entails. Rather, Grant performs his celebrity status through a posture of stiff hauteur, which enables the humour in his self-deprecating remarks, both of which are key elements of his persona.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"14 1","pages":"51 - 65"},"PeriodicalIF":1.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41429499","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 : 2023-01-02DOI: 10.1080/19392397.2022.2159670
Claire Monk
ABSTRACT Resumés of Hugh Grant’s career routinely note his performance as the repressed, upper-class Clive Durham in James Ivory’s groundbreaking gay Edwardian drama Maurice (1987) as his breakthrough role. However, Grant’s subsequent rise to global romcom stardom and celebrity since Four Weddings and a Funeral (1994) has gradually occluded this earlier career phase from consideration as a significant moment in the formation of the ‘Hugh Grant’ persona. This research interrogates this interpretative gap by exploring the mediated self-/construction and sense-making interpretation of Grant’s persona in and around Maurice as manifested in the film’s 1987 media coverage. Also drawing on Ivory’s casting files, and comparatively on media which focused on all three of Maurice’s young ‘unknown’ male stars, the study explores how the ‘Hugh Grant’ of the late 1980s prefigures, denaturalises and unsettles later understandings of romcom ‘Hugh Grant’, including problematising his relation to New Man masculinities and foregrounding questions of class. The recent career narrative of Grant’s ‘new’ turn towards serious roles is likewise challenged by attention to his tragicomic performance in Maurice, which his Jeremy Thorpe in A Very English Scandal (2018) would reflexively echo 31 years later.
摘要休·格兰特（Hugh Grant）的职业生涯履历经常提到，他在詹姆斯·艾沃里（James Ivory）开创性的爱德华时代同性恋戏剧《莫里斯》（Maurice）（1987）中饰演压抑的上流社会克莱夫·达勒姆（Clive Durham），这是他的突破性角色。然而，自1994年的《四个婚礼和一个葬礼》（Four Weddings and a Funeral）以来，格兰特随后成为全球浪漫喜剧明星和名人，逐渐将这一早期的职业生涯阶段从“休·格兰特”形象形成的重要时刻中抹去。这项研究通过探索格兰特在莫里斯及其周围的角色的中介自我/建构和意义解释来质疑这种解释差距，正如电影1987年的媒体报道所表现的那样。该研究还借鉴了艾沃里的选角档案，并与关注莫里斯三位年轻的“不知名”男明星的媒体进行了比较，探讨了20世纪80年代末的“休·格兰特”是如何预示、变性和扰乱后来对浪漫喜剧《休·格兰特》的理解的，包括质疑他与新男性气质的关系，以及突出阶级问题。格兰特最近的职业生涯叙事“新”转向严肃角色，同样受到了人们对他在《莫里斯》中悲喜剧表演的关注的挑战，31年后，他在《非常英国的丑闻》（2018）中的杰里米·索普（Jeremy Thorpe）本能地呼应了这一点。
{"title":"‘Such emotional sterility proves ideal for the role’: Hugh Grant’s proto-celebrity and its media (self-)construction around Maurice","authors":"Claire Monk","doi":"10.1080/19392397.2022.2159670","DOIUrl":"https://doi.org/10.1080/19392397.2022.2159670","url":null,"abstract":"ABSTRACT Resumés of Hugh Grant’s career routinely note his performance as the repressed, upper-class Clive Durham in James Ivory’s groundbreaking gay Edwardian drama Maurice (1987) as his breakthrough role. However, Grant’s subsequent rise to global romcom stardom and celebrity since Four Weddings and a Funeral (1994) has gradually occluded this earlier career phase from consideration as a significant moment in the formation of the ‘Hugh Grant’ persona. This research interrogates this interpretative gap by exploring the mediated self-/construction and sense-making interpretation of Grant’s persona in and around Maurice as manifested in the film’s 1987 media coverage. Also drawing on Ivory’s casting files, and comparatively on media which focused on all three of Maurice’s young ‘unknown’ male stars, the study explores how the ‘Hugh Grant’ of the late 1980s prefigures, denaturalises and unsettles later understandings of romcom ‘Hugh Grant’, including problematising his relation to New Man masculinities and foregrounding questions of class. The recent career narrative of Grant’s ‘new’ turn towards serious roles is likewise challenged by attention to his tragicomic performance in Maurice, which his Jeremy Thorpe in A Very English Scandal (2018) would reflexively echo 31 years later.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"14 1","pages":"18 - 33"},"PeriodicalIF":1.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48129667","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 : 2023-01-02DOI: 10.1080/19392397.2022.2159673
R. Feasey
ABSTRACT Extant research on Hugh Grant’s star image routinely combines issues of masculinity, sexuality and national identity. Such work concludes that the stumbling, stammering English gent that he mastered for the character of Charles Thacker in Four Weddings and a Funeral or the dishonourable bounder and morally reprehensible cad that he played so brilliantly in Bridget Jones’s Diary is a perfect fit with the man himself. Either way, this article will consider the ways in which film critics and commentators have read and responded to Grant’s on-screen performances and off-screen persona in order to open up a dialogue about shifting iterations of masculinity. Grant is routinely at the forefront of changing definitions of modern manhood, morphing from New Man to New Lad before being constructed and circulated as a figurehead of post-feminist fatherhood. In short, Grant stands as a testament to the very fluid, flexible and shifting nature of the hegemonic hierarchy.
{"title":"Fop, bounder and post-feminist father: Hugh Grant and the changing face of modern masculinity","authors":"R. Feasey","doi":"10.1080/19392397.2022.2159673","DOIUrl":"https://doi.org/10.1080/19392397.2022.2159673","url":null,"abstract":"ABSTRACT Extant research on Hugh Grant’s star image routinely combines issues of masculinity, sexuality and national identity. Such work concludes that the stumbling, stammering English gent that he mastered for the character of Charles Thacker in Four Weddings and a Funeral or the dishonourable bounder and morally reprehensible cad that he played so brilliantly in Bridget Jones’s Diary is a perfect fit with the man himself. Either way, this article will consider the ways in which film critics and commentators have read and responded to Grant’s on-screen performances and off-screen persona in order to open up a dialogue about shifting iterations of masculinity. Grant is routinely at the forefront of changing definitions of modern manhood, morphing from New Man to New Lad before being constructed and circulated as a figurehead of post-feminist fatherhood. In short, Grant stands as a testament to the very fluid, flexible and shifting nature of the hegemonic hierarchy.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"14 1","pages":"66 - 82"},"PeriodicalIF":1.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46065723","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 : 2023-01-01DOI: 10.1080/19392397.2022.2161404
C. Rojek
{"title":"The larceny of the last second: the case for transcendence","authors":"C. Rojek","doi":"10.1080/19392397.2022.2161404","DOIUrl":"https://doi.org/10.1080/19392397.2022.2161404","url":null,"abstract":"","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47458551","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 : 2022-12-26DOI: 10.1080/19392397.2022.2159676
Suri M. Pourmodheji
{"title":"Millennials Killed the Video Star: MTV’s Transition to Reality Programming and Extraordinarily Ordinary: Us Weekly and the Rise of Reality Television Celebrity","authors":"Suri M. Pourmodheji","doi":"10.1080/19392397.2022.2159676","DOIUrl":"https://doi.org/10.1080/19392397.2022.2159676","url":null,"abstract":"","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"14 1","pages":"118 - 121"},"PeriodicalIF":1.5,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47337225","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 : 2022-12-23DOI: 10.1080/19392397.2022.2159671
Renée Middlemost
ABSTRACT Following a range of supporting roles in the late 1980s, Hugh Grant’s breakthrough performance in Four Weddings and A Funeral (1994) established him as Britain’s ‘go-to’ romantic lead. And yet, a potentially career-ending sex scandal while on the verge of Hollywood stardom could be considered the making of the man. By analysing press coverage using analytical approaches and frameworks from celebrity studies, this article shows how several flashpoints in Grant’s personal life and subsequent ‘celebrity confessionals’ have been central to Grant’s enduring popularity and evolving star persona. As I argue, scandals across three decades, and subsequent confessionals are mirrored in Grant’s maturing onscreen persona – from commitment-phobic characters, to experimentation with satire and comedy for the American market, to his triumphant return in British biography/dramedies. This article considers Grant’s evolving and unique engagement with the media as a type of ‘reverse confessional’ – where Grant’s confessions subsequently expose the shifting nature of celebrity engagement with the media, and less desirable aspects of the (British) tabloid press. In sum, I contend the reverse narrative mode employed by Grant as an ‘image restoration strategy’ has allowed him to reclaim his own narrative and expose key truths about privacy, press coverage, and contemporary celebrity culture.
{"title":"Scandal maketh the man? The evolution of Hugh Grant and the celebrity confessional","authors":"Renée Middlemost","doi":"10.1080/19392397.2022.2159671","DOIUrl":"https://doi.org/10.1080/19392397.2022.2159671","url":null,"abstract":"ABSTRACT Following a range of supporting roles in the late 1980s, Hugh Grant’s breakthrough performance in Four Weddings and A Funeral (1994) established him as Britain’s ‘go-to’ romantic lead. And yet, a potentially career-ending sex scandal while on the verge of Hollywood stardom could be considered the making of the man. By analysing press coverage using analytical approaches and frameworks from celebrity studies, this article shows how several flashpoints in Grant’s personal life and subsequent ‘celebrity confessionals’ have been central to Grant’s enduring popularity and evolving star persona. As I argue, scandals across three decades, and subsequent confessionals are mirrored in Grant’s maturing onscreen persona – from commitment-phobic characters, to experimentation with satire and comedy for the American market, to his triumphant return in British biography/dramedies. This article considers Grant’s evolving and unique engagement with the media as a type of ‘reverse confessional’ – where Grant’s confessions subsequently expose the shifting nature of celebrity engagement with the media, and less desirable aspects of the (British) tabloid press. In sum, I contend the reverse narrative mode employed by Grant as an ‘image restoration strategy’ has allowed him to reclaim his own narrative and expose key truths about privacy, press coverage, and contemporary celebrity culture.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"14 1","pages":"34 - 50"},"PeriodicalIF":1.5,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47673140","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 : 2022-12-22DOI: 10.1080/19392397.2022.2159675
M. Hallet
ABSTRACT Hugh Grant’s career and persona have undergone a cultural, personal, and professional shift since the 2010s. During a period of semi-hiatus from acting, Grant became associated with politics as he campaigned for the protection of privacy and opposed Brexit. At the same time, his image has been reshaped through fatherhood, often depicted by the press as the reason behind his ‘comeback’. Since Florence Foster Jenkins in 2016, he has turned towards more ‘serious’ roles and distanced himself from his romcom persona. Focusing on his most recent roles in film and television, this article analyses the star’s performances and dissects the ambiguities and tensions at play in Grant’s ageing white ‘English’ upper-class image. Although inextricably associated with the romantic genre for years, I suggest that Grant’s acting style and persona are more in a state of perpetual flux, attached to the past yet increasingly layered with enjoyment for the craft as he ages. At the intersection of gender, ageing and star studies, this article shows how an ageing persona is (re-)established on screen, and how Grant’s characters within his films and television series might render a different image of white, privileged, English masculinity in contemporary times.
{"title":"Renaissance man: Hugh Grant’s performance of class, white Englishness, and joyfully mature masculinity","authors":"M. Hallet","doi":"10.1080/19392397.2022.2159675","DOIUrl":"https://doi.org/10.1080/19392397.2022.2159675","url":null,"abstract":"ABSTRACT Hugh Grant’s career and persona have undergone a cultural, personal, and professional shift since the 2010s. During a period of semi-hiatus from acting, Grant became associated with politics as he campaigned for the protection of privacy and opposed Brexit. At the same time, his image has been reshaped through fatherhood, often depicted by the press as the reason behind his ‘comeback’. Since Florence Foster Jenkins in 2016, he has turned towards more ‘serious’ roles and distanced himself from his romcom persona. Focusing on his most recent roles in film and television, this article analyses the star’s performances and dissects the ambiguities and tensions at play in Grant’s ageing white ‘English’ upper-class image. Although inextricably associated with the romantic genre for years, I suggest that Grant’s acting style and persona are more in a state of perpetual flux, attached to the past yet increasingly layered with enjoyment for the craft as he ages. At the intersection of gender, ageing and star studies, this article shows how an ageing persona is (re-)established on screen, and how Grant’s characters within his films and television series might render a different image of white, privileged, English masculinity in contemporary times.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":"14 1","pages":"83 - 100"},"PeriodicalIF":1.5,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42042212","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 : 2022-12-16DOI: 10.1080/19392397.2022.2157296
L. Stead
{"title":"‘There’s more to middle age than a saggy belly’: gender, ageing, and agency in Kate Winslet’s post Weinstein star image","authors":"L. Stead","doi":"10.1080/19392397.2022.2157296","DOIUrl":"https://doi.org/10.1080/19392397.2022.2157296","url":null,"abstract":"","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47473596","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 : 2022-12-15DOI: 10.1080/19392397.2022.2154684
Claire Parkinson, Laraine Herring
ABSTRACT Acceptance speeches have long been used by celebrity activists as platforms from which to promote their personal, political or ethical agendas. The actor Joaquin Phoenix, an outspoken proponent for animal rights and veganism, dominated the Hollywood awards season in 2020 for his portrayal of Arthur Fleck in Joker and used his platform to address this cause. The reaction to Phoenix’s speech in the trade and mainstream press reveals much about the role of celebrity vegan activism in the contemporary cultural and political climate. This article analyses the critical reception of Phoenix’s Oscar speech across 37 US and UK trade press and mainstream news articles. In doing so, we highlight how gender and notions of hegemonic masculinity are managed and reproduced through the press discourse on celebrity animal rights activism. We argue that Phoenix’s star persona and celebrity advocacy complicate the gendered norms associated with vegan practice. Finally, we address the issues of authenticity by examining Phoenix’s performance of advocacy at the Oscars to argue that and the actor’s speech popularises an emergent redemptive narrative of veganism, which negotiates hegemonic masculine ideals.
{"title":"Vegan celebrity activism: an analysis of the critical reception of Joaquin Phoenix’s awards speech activism","authors":"Claire Parkinson, Laraine Herring","doi":"10.1080/19392397.2022.2154684","DOIUrl":"https://doi.org/10.1080/19392397.2022.2154684","url":null,"abstract":"ABSTRACT Acceptance speeches have long been used by celebrity activists as platforms from which to promote their personal, political or ethical agendas. The actor Joaquin Phoenix, an outspoken proponent for animal rights and veganism, dominated the Hollywood awards season in 2020 for his portrayal of Arthur Fleck in Joker and used his platform to address this cause. The reaction to Phoenix’s speech in the trade and mainstream press reveals much about the role of celebrity vegan activism in the contemporary cultural and political climate. This article analyses the critical reception of Phoenix’s Oscar speech across 37 US and UK trade press and mainstream news articles. In doing so, we highlight how gender and notions of hegemonic masculinity are managed and reproduced through the press discourse on celebrity animal rights activism. We argue that Phoenix’s star persona and celebrity advocacy complicate the gendered norms associated with vegan practice. Finally, we address the issues of authenticity by examining Phoenix’s performance of advocacy at the Oscars to argue that and the actor’s speech popularises an emergent redemptive narrative of veganism, which negotiates hegemonic masculine ideals.","PeriodicalId":46401,"journal":{"name":"Celebrity Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48829066","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：