The publics of celebrity: introduction

Companion to Celebrity presents a multi-disciplinary collection of original essays that explore myriad issues relating to the origins, evolution, and current trends in the field of celebrity studies.

Global celebrity: introduction

Companion to Celebrity presents a multi-disciplinary collection of original essays that explore myriad issues relating to the origins, evolution, and current trends in the field of celebrity studies.

Soccer, South Africa and celebrity status:Mark Fish, popular culture and the post-apartheid state

The rise of celebrity culture is a theme that has attracted a significant amount of attention within both mainstream sociology and cultural studies in more recent times. Ensuing debate has identified contemporary sports figures as an important facet of the celebrity‐media nexus and as possible signifiers of cultural change. In this paper we take one particular sports celebrity, South African soccer star Mark Fish, and evaluate his image in relation to debates surrounding sport, politics and the post‐apartheid state. We argue that because Fish appears to enjoy all the benefits of celebrity status (within his home country at least), an analysis of his career and identity provide a useful means by which to think about the changing political and nationalistic values within South African society.

Semantic shock: David Bowie!

David Bowie embodies certain identity positions that are alien, alternative, and transgressive via metaphor and alter-egos that render him essentially strange. This chapter argues that by using metaphor and metonym throughout his visual and sonic creations, David Bowie has been largely freed from the constraints of merely describing the world; his use of metaphor and metonym have afforded possible reevaluations of the world, in new ways, by breaking the association between language and things. His own sonic and visual assemblage have allowed fissures to be created; new and multiple meanings rendered possible and valid, with his work going beyond both the creator and viewing/listening-body. Using Sara Ahmed’s (2004) social philosophies of trauma and scarring, the chapter argues that what David Bowie’s work frequently does is ‘re-open wounds’ and reminds us of the scars; asking us to notice their existence, to become more aware, in the first instance. But then, offers a means to negotiate their healing.

Enchanting David Bowie space/time/body/memory

This exciting collection is organized according to the key themes of space, time, body, and memory - themes that literally and metaphorically address the key questions and intensities of his output.

The whiteness of David Bowie

During the 1980s, in particular, Bowie embodied particular notions of white masculinity that were on the one hand supportive of its idealized hegemony, and on the other subverted its normative power. I will take 1983 as the year when his whiteness is particularly visible and unstable. Bowie, as either the blonde dandy from Let’s Dance; the enigmatic character, Maj. Jack 'Strafer' Celliers from Merry Christmas Mr. Lawrence (1983); or the simmering vampire, John Blaylock from The Hunger (1983), crystlised the pure qualities of white masculinity while demonstrating its violent, queer and subversive nature. The chapter will suggest that Bowie has constantly operated along a white continuum, self-consciously embodying it, granting it carnal and ideological power, while drawing attention to its death-like instinct, its anti-reproductive progeny, its implicit queerness.I have chosen to read Bowie’s whiteness through this shortened window of temporality to enable me to draw into the analysis the historical and cultural issues of the period in question. 1983 registers as the year in which whiteness is acutely imagined to be under threat from the Asian tiger and transforming geo-political realities, its own languid anti-corporeality, the AIDS ‘epidemic’, and from the rise of racism in Europe and elsewhere - realities which require it to re-position its power relations with the sexual, and ethnic Other. The whiteness in/of David Bowie speaks particularly eloquently to this historical moment.

Sensing celebrities

Sensing celebrities involves recognition of the way complementary sensory-based elements come together to create, produce and transmit levels of affect and intensities. This chapter explores celebrity through the lens of sensory aesthetics. It begins by defining sensory aesthetics, linking it to the phenomenology of celebrity, and particularly the work of Vivian Sobchack and Laura U. Marks. The chapter draws upon the unique concept of the celebaesthetic subject to address the intersubjective relationship between fan and celebrity. Using Miley Cyrus as a case study, the chapter draws into the analysis the issue of gender and race, and the way conductive “skin” can be made to function as a sensory stereotype. It highlights that mobilization of the celebrity senses touched by transgression may be best understood to take place through the confession, and in the celebrity carnival.

Lazarus rises: storying the self in the migrant fandom of David Bowie

In this article we focus upon the ways that “migrants” in Melbourne have used David Bowie to story and make sense of their arrival to Australia, often as refugees or as people looking for a better life. In relation to identity and belonging, some recent work on music fandom (Groene and Hettinger 2015; Lowe 2003), has imposed a meta-frame on the empirical method, substituting voices for a top-down analysis and interpretation. Our approach is to instead draw both upon auto-ethnography and to allow our fellow fans to “story” their own responses, in an attempt to get beneath the modes of feeling that music fandom ignites – situated within the narratives that people construct as they talk these stories. We argue that Bowie’s alternative and outsider status resonates keenly with people who find themselves “strangers” in a new land.

Will the real Waleed Aly please stand up?: Media, celebrity and the making of an Australian public intellectual

Abstract: Waleed Aly is arguably the most visible and vocal Australian public intellectual from a non-Anglo-Australian background. The ubiquitous Aly is a veritable Renaissance man - he is a television presenter, radio host, academic and rock musician. He is also a former lawyer, and served on the executive committee of the Islamic Council of Victoria. In short, he is the 'go-to' Muslim for commentary on a wide range of political and civic affairs. This article argues that Aly's media profile and celebrity status have as much to do with an Australian cultural imaginary that posits 'whiteness' as an uncontestable normative value as it does with Aly's undoubted skills as a journalist, academic and cultural commentator. It examines Aly's career with reference to Ghassan Hage's concept of 'whiteness' as a form of aspirational cultural capital and various theories of persona and performativity. For Hage, 'whiteness' is not a literal skin colour; rather, it consists of elements that can be adopted by individuals and groups (such as nationally valued looks, accents, tastes, cultural preferences and modes of behaviour). While entry to what Hage calls Australia's 'national aristocracy' is generally predicated on possessing the correct skin tone, it is theoretically possible for dark-skinned people such as Waleed Aly to enter the field of national belonging and partake in public discourse about a range of topical issues. More specifically, the article substantiates its claims about Aly's status as a member of Australia's cultural aristocracy through a comparative discourse and performance analysis of his presentation of 'self' in four distinctive media contexts: Channel 10's The Project, the ABC RN Drive program, ABC TV's Q&A and the SBS comedy-talk show Salaam Caf , which looked at the 'funny side of life as an Australian Muslim' and showcased other multi-talented Muslim professionals of both genders.

The new world of work and employment: fitness workers and what they want from the employment relationship

This paper reports on an empirically based study of the Queensland (Australia) health and fitness industry over 15 years (1993 -2008). This study traces the development of the new occupation of fitness instructor in a service industry which has evolved si nce the 1980s and is embedded in values of consumption and individualism. It is the new world of work. The data from the 1993 study was historically significant, capturing the conditions o f employment in an unregulated setting prior to the introduction of the first industrial a ward in that industry in 1994. Fitness workers bargained directly with employers over all a spects of the employment relationship without the constraints of industrial regulation or the presence of trade unions. The substantive outcomes of the employment relationship were a direct reflection of m anagerial prerogative and worker orientation and preference, and did not reflect the rewards and outcomes traditionally found in Australian workplaces. While the focus of the 1993 research was on exploring the employment relationship in a deregulated environment, an unusual phenomenon was identified: fitness workers happily trading-off what would be considere d standard working conditions for the opportunity to work (‘take the stage’). Since then, several streams of literature have evolved providing a new context for understanding this phenomenon in the fitness industry, including: the sociology of the body (Shilling 1993; Turner 1996); emotional (Hochschild 1984) and aesthetic labour (Warhurst et al 2000); the so cial relations of production and space (Lefebvre 1991; Moss 1995); body history (Helps 2007); the sociology of consumption (Saunders 1988; Baudrillard 1998; Ritzer 2004); and work identity (Du Gay 1996; Strangleman 2004). The 2008 survey instrument replicated the 1993 study but was additionally informed b y the new literature. Surveys were sent to 310 commercial fitness centres and 4,800 fitness workers across Queensland. Worker orientation appears unchanged, and industry working conditions still seem atypical despite regulation si nce 1994. We argue that for many fitness workers the goal is to gain access to the fitness centre economy. For this they are willing to trade-off standard conditions of employment, and exchange traditional employm ent rewards for m ore intrinsic psycho-social rewards gained the through e xp o sure of their physical capital (Bourdieu 1984) o r bo dily prowess to the adoration o f their gazing clients. Building on the tradition of emotional labour and aesthetic labour, this study introduces the concept of ocularcentric labour: a state in which labour’s quest for the psychosocial rewards gained from their own body image shapes the employment relationship. With ocularcentric labour the p sycho-social rewards have greater value for the worker than ‘hard’, core conditions of employment, and are a significant factor in bargaining and outcomes, often substituting fo r direct earnings. The wo rkforce profile (young, female, casual) and their expectations (psycho-social rewards of ado ration and celebrity) challenge traditional trade unions in terms of what they can deliver, given the fitness workers’ willingness to trade-off minimum conditions, hard-won by unions.

Physical capital and its consequences for fitness workers in Queensland

Sexual, social and employment success have been linked to the physical capital drawn from having aesthetic attributes of the socially idealised body. In certain workplace settings, such as health and fitness centres, the body becomes a mainstream commodity with physical capital affording the fitness worker a high degree of distinction and adoration as well as employment opportunities. The employment relationship is shaped by 'lookism', with both the employer and employee taking advantage of the fitness worker's idealised form. The worker's physical capital provides a walking billboard advertising the employer's products and services, while exposure to comparison and adoration provides a heightened sense of self-worth, distinction and celebrity. Fitness workers appear to be prepared to ignore poor employment conditions or trade-off standard entitlements for the alternative rewards that their physical capital brings.

Confronting consensus : the art and politics of Christopher Howlett

The article discusses the art career and works of Brisbane artist Christopher Howlett. Howlett has engaged with a number of political issues in a range of media. Issues include the artist as 'labourer', art in the age of tabloid media, art and celebrity culture in media such as performance, installation, sound works, and digital frameworks.

The place of scandal : Lara Bingle and Brendan Fevola

Over the period of a few short weeks in 2010 Australian media coverage and public discussion was dominated by news of a ‘sex scandal’ involving two high-profile celebrities – Lara Bingle (model and then fiancée of the vice-captain of the Australian cricket team Michael Clarke), and the Australian rules football ‘bad boy’ Brendan Fevola. The scandal began with the publication of a pixellated photograph in the popular Australian women’s magazine, Woman’s Day, of a naked and apparently unconsenting Bingle in the shower, which was allegedly taken by Fevola during a brief affair years previously and distributed via his mobile phone. This article examines the constructions of women’s sexuality, gender and celebrity scandal in mainstream media coverage of this event. Attending to the Australian news media’s discursive constructions of Bingle’s sexual behaviour, this research begins to map the ways in which celebrity scandals in the mainstream media provoke wider debate about ‘gender appropriate’ conduct (sexual and otherwise).

Youth and the communication of Risk: developing connections between cancer council Australia and contemporary online youth culture

Through two focus groups, the project investigated how youth culture perceives online communication of risk. In two 90-minute sessions, investigators gaged the range of online activities that nine 18 - 24 year old university students engaged with. Through a guided discussion the participants explored how they would relate to the communication of health risk more generally and cancer risk more specifically.
Participants’ online activity is very high and a range of social media forms are part of their everyday lives. In contrast, their use of traditional media is almost non-existent. Their relationship to accessing and being aware of health information demonstrated a range of views that pointed to quite new and different relationships to health and health professionals. To intersect with their online movements in the communication of health risk demands a sophisticated knowledge of their own searching patterns.
Key ideas generated from the focus groups include: that it might be advantageous to group health risk beyond the specificity of cancer for online success; that an online persona would be useful to provide a face for the communication of risk; that a multi-platform campaign to raise the profile of a persona would be useful; and that success means moving between the serious and the light-hearted in a way that makes the persona a complete person of interest for them.

Beauty and the market: Actress postcards and their senders in early twentieth century Australia

A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).