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Celebrities in mass media
Celebrities and media influence
News media and celebrity impact on society
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Celebrity has invaded every part of our contemporary Western cultur, this infliltration is closely tied to new communication technologies (Meyers, 17-18). Within this culture the problematic cultural norms of gender and sexuality are perpetuated; young female celebrities are held to an entirely different expectation to their male counterparts. These discussions of celebrity in contemporary culture have found their way into New Zealand, take for example the gossip around TV3’s the Bachelor NZ, that has ensued even after the series has ended.While audiences may be familiar with the celebrity as a highly constructed commodity, in contemporary culture, the line between a celebrity’s personal and private self is blurred (Meyers, 10). The representation …show more content…
As Boorstin suggests, the celebrity is fabricated in order to satisfy “our exaggerated expectations of human greatness’. In doing this celebrity also exaggerate the flaws that work against set cultural norms (Turner, 3). Celebrity has a history, during the golden age of Hollywood, gossip columnists reframed the ways audiences engaged with celebrity culture , through a significant shift to gossip about the personal lives of stars (Meyers, 24). A recent article on Stuff.co.nz, “The Bachelor NZ: Naz 's text to other man revealed” illuminates this gossip culture, the way it intertwines her life of fame and her private life. This gossip culture is an environment that produces, circulates and consumes pesonal desire, therefore organising and negotiating the cultural norm of social interaction (Meyers 19). The ‘crisis’ female celebrity’s role in this negotiation is her allusion to a larger set of dilemmas in western culture about the role of women in public life (Negra, …show more content…
For example the scale of reporting on New Zealand’s Bachelor on websites such asS tuff.co.nz even after the show’s finale, a local reality television show has becomes a national current even through the emphasis on celebrity culture. Parasocial interactions through social media emphasise this discourse, the aforementioned article uses Naz’ social media intteractions to expose her her ‘other’ man. Naz’ celebrity is both the cultivation of her persona as reality TV star and the ideological context within which that persona could develop
A celebrity is not a person known for his/her talent or achievement, but an individual recognized for his/her reputation created by the media. The phase of stardom is slippery, and media may choose to represent celebrities varying from exaggerated admiration to mockery. The three texts chosen, movie "Sunset Boulevard", feature article "Over the Hilton" and television show "Celebrity Uncensored Six" are texts presenting different perception of celebrities than their usual images - either corrupted by the encircling media, overloads oneself with self-indulgence, or just mocks celebrity in a broad spectrum. Such media items empower and impresses the audience by perceiving celebrities as people who pay the price of privacy to gain well knowness, signifying the vanity of stardom from the commonly accepted images.
For many of us “regular folk”, we dream of visiting California and seeing celebrities or even being one. We see Hollywood as a heaven or even a holy bubble that we all want to be in. This is not true for all, but it is for most. We as a society do not generally think of the negative impacts Hollywood and fame has on an individual. Carrie Fisher, with her wit, humor, and extreme honesty, takes us inside her life and gives us her insight on Hollywood based her upbringing. After going through multiple triumphs, tragedies, and revelations Fisher writes about it all in her book, Wishful Drinking, along with three other novels she has written. Now you see why I used the term “regular folk,” because Fisher is the opposite of a “regular folk.” Even
Do you know the guiltiest pleasure of the American public? Two simple words reveal all—reality TV. This new segment of the TV industry began with pioneering shows like MTV’s The Real World and CBS’s Survivor. Switch on primetime television nowadays, and you will become bombarded by and addicted to numerous shows all based on “real” life. There are the heartwarming tales of childbirth on TLC, melodramas of second-rate celebrities on Celebrity Mole, and a look into a completely dysfunctional family on The Osbornes. Yet, out of all these entertaining reality shows arises the newest low for popular culture, a program based on the idea of a rich man or woman in search of the perfect marriage partner. The Bachelor, and its spin-off The Bachelorette, exemplify capitalist ideology founded on the Marxist base-superstructure model and establish the role of an active American audience.
Reality based television has a broad landscape ranging from competitive game-like shows to programs following the daily lives of a group of people. Every major network now has some form of reality programming because the genre’s shows are high in viewership and require low costs for production. The genre is appealing to viewers because it provides them with a first-hand look into the lives of everyday people, which allows them to observe social behavior that helps them determine what is appropriate or not (Tyree, 2011, p. 397). Since the majority of modern reality stars start out as unknowns, frequent viewers of reality programming believed that fame is obtainable if they appear on a popular show (Mendible, 2004). According to Mendible’s evaluation of the genre in the article Humiliation, Subjectivity, and Reality TV, people enjoy reality programs beca...
Marshall P. David (1997). Celebrity Power; Fame in Contemporary Culture. May 16, 2010. Electronically retrieved from
Stints as a child model and commercial actress brought Lohan into the spotlight at the age of three. As she transitioned from childhood to adulthood, it was becoming much more difficult to make such an appearance in the media that she had as a child. “The mass-media sets the public agenda; they are the ones who, as a result of their social event selection and focusing system, assign the priority of the discussion topics on the agenda” (Pachef, 2010). Thus, everything she had done in her personal life the media had documented, making sure the public masses were aware of Lohan. From her drug abuse to her nightlife stories, the media had it. When she even knew she had enough, the media couldn’t let go because they had absorbed so much popularity and power from the public masses from all the stories behind Lohan. Instead of focusing on her recovery, she wanted to feed the media through her actions because it was her only choice to steal the spotlight. The media as well had distorted the image of Lohan on and off the screen, whether it was shooting a new film to having lunch with her parents, by making her look like this “Scarlet A” individual whom society dislikes. The mass media establishes the topics that are worth being acknowledged, and the public is interested in the topics that circulate in the mass media.
Celebrity blogs typically provide great insight into the three important theoretical perspectives in sociology. This paper will analyze the data obtained from five selected celebrity gossip blogs, such as Celebitchy, Yahoo Celebrity, The Huffington Post, Time, and SheKnows. The analysis will be based on the theoretical perspectives of celebrity gossip, particularly conflict theory. For instance, it will address the inequalities that exist in the gossip blogs based on race, gender, class, or sexual inequalities. Additionally, it will identify the interests of those served by the blogs as well as those who get exploited or suffer as a result of the publication of the blogs.
The Celebrity as a Commodity Hurst introduced the idea of a commodity in the text. By definition, a commodity is something that is of use, advantage, or value. More directly, Hurst showed how people by use of their skills, looks, or names, could be used as advantages in society. He uses the examples of celebrities, sports figures, and beautiful people to show that people can be commodities. All of these groups bring some sort of recognition or attraction that is beneficial to a company, firm, or individual.
The star text of a celebrity can help to decipher their image and transitions they may undergo. In order to better understand these transitions, one must know the definition of a star text. A star text is the sum of everything we affiliate with celebrities, which includes their body of work, promotion, publicity, and audience participation (Jackson, 08/09/16). One must note that “celebrity doesn 't happen because someone has extraordinary qualities – it is discursively constructed by the way in which the person is publicised and meanings about them circulate” (O 'Shaughnessy and Stadler 424). Destiny Hope Cyrus, “an American singer and actress, became a sensation in the television series
January 6, 1973, famous anthropologist Margaret Mead published an essay in TV Guide in which she addressed her view of PBS’s series “An American Family.” This series was groundbreaking during that time because is followed the Loud’s, a California family who were neither actors nor public figures just average middle-class family, which was unheard of at the time. The Louds were filmed for seven months and the product was twelve one-hour episodes which showed everything from the monotony of their everyday life to the corrosion of Bill and Pat Loud’s marriage. Meade called this series “a new kind of art form” and marveled at the shows ability to show the drama and entertainment value of the average human condition. Forty years later, as Meade had predicted, reality based television and films have become more understood, respected and prevalent in our modern culture. Extreme success stories of documentaries such as Justin Bieber’s 2011 “Never Say Never” and countless reality shows indicates that a celebrity’s presence , musicians particularly, on reality media channels can change audience’s perceptions, promote new material and help them to stay relevant in the public eye. These “reality” documentaries and TV shows present the audience with carefully edited material that conveys only a fraction of that individual’s personality and character yet has profound effects audience perception and acceptance. The British boy band One Direction is a prime example of how using the model of framing in reality television shows and documentaries effectively promotes projects, molds the opinions of audiences, allows artist to appear more open and relatable and leads to extreme monetary success.
Tania Modleski’s “The Search for Tomorrow in Today’s Soap Operas” proposes that the unique appeal and function of soap opera lies in (a) the viewer’s ability to inhabit the text’s prescribed spectatorial position of ‘the good mother’, and (b) use the archetypal ‘villainess’ to displace one’s own repressed anger and powerlessness. It can be argued, using Modleski’s analytical perspectives on the interpellated spectatorial positions of soap operas, that a new genre of television programs (namely the reality dating shows) function in a similar way.
There was once a time when there were more simplistic views on life; where truth and justice prevailed above all and the main concerns of society were much more primitive. However, those times have long vanished and have now been strategically replaced by the commodity that celebrity culture fully encompasses. Guy Debord writes in The Society of the Spectacle, that the “spectacle is not a collection of images, but a social relation amongst people, mediated by images” (Debord, 4). By this, he simply means that the spectacle is constructed by the daily images devised by celebrities, reality television, and pseudo-events. And those images have altered and strongly influenced the way people perceive themselves and others, as well as the social
We are part of a generation that is obsessed with celebrity culture. Celebrities are distinctive. Media and consumers alike invented them to be a different race of super beings: flawless, divine and above all the real moral world. In a 1995 New York Times article “In contrast, 9 out of 10 of those polled could think of something
Havrilesky, Heather. “Stalking Celebrities.” Remix: Reading and Composing Culture. Ed. Catherine G. Latterell. 2nd ed. Boston/New York: Bedford/St. martin’s, 2010. 446-450. Print.
Movie stars. They are celebrated. They are perfect. They are larger than life. The ideas that we have formed in our minds centered on the stars that we idolize make these people seem inhuman. We know everything about them and we know nothing about them; it is this conflicting concept that leaves audiences thirsty for a drink of insight into the lifestyles of the icons that dominate movie theater screens across the nation. This fascination and desire for connection with celebrities whom we have never met stems from a concept elaborated on by Richard Dyer. He speculates about stardom in terms of appearances; those that are representations of reality, and those that are manufactured constructs. Stardom is a result of these appearances—we actually know nothing about them beyond what we see and hear from the information presented to us. The media’s construction of stars encourages us to question these appearances in terms of “really”—what is that actor really like (Dyer, 2)? This enduring query is what keeps audiences coming back for more, in an attempt to decipher which construction of a star is “real”. Is it the character he played in his most recent film? Is it the version of him that graced the latest tabloid cover? Is it a hidden self that we do not know about? Each of these varied and fluctuating presentations of stars that we are forced to analyze create different meanings and effects that frame audience’s opinions about a star and ignite cultural conversations.