By Ellis Cashmore
In this attention-grabbing and topical novices consultant, Ellis Cashmore explores the interesting factor of superstar tradition: its origins, its that means and its worldwide impression. overlaying such diverse views as reputation dependancy, the ‘celebrification’ of politics and megastar fatigue, Cashmore analyzes the connection star has with commodification and the patron society, and investigates the recent media and the search for self-perfection.
Cashmore takes readers on a quest that visits the Hollywood movie of the early 20th century, the movie set of Cleopatra within the Seventies, the dressing room of Madonna within the Eighties, the burial of Diana within the Nineties, and the large Brother condo of the early 2000s. writer of Beckham and Tyson, Cashmore collects learn, concept, and case stories en path as he explores the exciting factor of megastar tradition: its origins, its which means, and its worldwide impact.
Including stories of current literature, and an summary of key modern issues, this soaking up e-book skilfully explains why we've got turn into so captivated by means of the lives and loves of the fame and, in so doing, offers the clearest, such a lot complete, wide-ranging, and obtainable account of superstar tradition to date.
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Additional info for Celebrity Culture (Key Ideas)
Technological developments over the next few years made it possible for some stations to use satellite delivery of all their programs. ” HBO offered something different from the usual television menu: films, concerts, and sports events. Other channels to use satellite broadcasts included the Star movie channel, WTBS, Ted Turner’s “superstation,” as he called it, and the Christian Broadcasting Network, later to become the Family Channel, all breaking away from the traditional varied makeup of programming and opting for just one type of program.
Onlookers were exactly that: detached observers, watching as subjects rather than participants. Only Queen Elizabeth’s sister Princess Margaret induced a more involved curiosity, her trysting 28 MAKING/NEW RULES occupying the paparazzi, though without sending them into the kind of frenzy as Diana did. As celebrities go, Diana was ne plus ultra: the highest form of such a being. No woman or man has ever commanded such reverence, respect, and collective love from such a wide constituency, in her case, the world.
As Donna Cox puts it in her “Diana: Her true story: post-modern transgressions in identity”: “We became voyeurs to our own displays of ‘suffering’, playing ‘Diana’ to ourselves through blinking television monitors” (1999: 330). The audience not only watched the Diana fairytale reach its denouement, but saw themselves as bit-part players in that same fairytale. This narrative transformation was both revealing and concealing. The media’s part in the death of Diana might have been laid bare, but consumers’ complicity, though recognized, was left unexamined, at least not in a deep or critical sense.