Feminism in Celebrity Culture

Introduction to Feminism in Celebrity Culture

The focus of the first part of this literature review will be on the area of celebrity culture feminism. In particular, the notion of feminism in celebrity culture receives a mostly general definition. This will include looking at the work of writers such as Rojek, Marshall and Turner. Within this work, I will look specifically at how celebrity has become a key site for productions and negotiations of individual identity in capitalism, and how much agency an audience or reader has in relation to this.

Celebrity Culture: the Production and Negotiation of Femininity 

Moving on from this, I will focus more specifically on gender, looking at writers who have related celebrity discourse to issues of productions, performances and negotiations of femininity. I want to combine this by proposing that certain distinctions such as Rojek’s between attributed and achieved celebrity can be understood in relation to gender. After this, I will move on to a review of writing on performativity, including the work of Butler and Foucault. Here, I want to consider how this could be relevant to the broader discourse of celebrity, gender and identification.

Feminism in Celebrity Culture: As Attributed with Explanatory Power

“Much of what makes a star or celebrity interesting is how aspects of living in contemporary society is articulated by them.” Amazingly, a star image is multi-faceted in terms of what they consists of the real person who is the “His or Her image” comprising of obviously stage managed appearances, and screen roles, and also images of the real person which is the site of the manufacture of that image” (Dyer, 1987:8). This means that stars are representations ‘made up’ in media culture. This is because of what they consist of and how they relate to issues either complex, conflicts or contradictions that emerge in the social world.

Hall (1997), further described the star and celebrity as “complex sign systems that involve generating meaning, ‘cultural circuit’ or dynamic exchange of production; identification, ideological and consumption elements” (Hall, 1997). Hall analyses the celebrity representations as either meaningful or otherwise depending on how people (or fans) acknowledge or identify with it or against it.

Articulation of individualism

Redmond also suggests that a “celebrity or star has an intimate or one-to-one relationship configured to articulate what it means to be and individual to another individual or fan by being personal in a way and also having political relationship with the social world as cultural products: as they are the component out of which culture created.” (Redmond, 2006 : 36-42)

According to Chris Rojek, “Ascribed, achieved and attributed are three forms in which celebrity status is derived.” (Rojek, 2001, p.17). He defines the ascribed celebrity as someone who is born a celebrity without having to actually do anything. For example, The Royal Family are celebrities because of the monarchial form of leadership in Great Britain. As a result, they derive celebrity status for the role they play in the country. This contrasts with the second category – Achieved celebrity.

“Achieved celebrity is recognised in the public realm as individuals who possess rare talents and skills and also comes from the perceived accomplishments of the individual in open competition” (Rojek, 2001, p.18).

Some examples here include:

• Wayne Rooney;
• Lewis Hamilton;
• Stephen Spielberg;
• Penelope Cruz;
• Tracey Emin.

In short, through being outstanding in their respective fields are all seen to have achieved celebrity status. However, Rojek, complicates this category by suggesting that:

“Special talent or skills is not exclusively the determinant of Achieved Celebrity, Rather, it is the result of the concentrated representation of an individual as exceptional or noteworthy by cultural intermediaries in some cases.At this point it is seen as attributed celebrity” (Rojek, 2001, p.18).

For as we have seen in Rojek’s definition, Attributed celebrity is a product of media representation rather than talents of the individual (or related to) which is not necessarily the situation. Rojek goes on to introduce a further term – ‘celetoid’, to refer to “a media-generated, compressed, concentrated form of attributed celebrity” (Rojek, 2001, p.18). Which includes celebrities who appear momentarily and then vanish from the public eye, “lottery winners, one-hit wonders, stalkers” (Rojek, 2001, p.18).

Hatred of Beauty

A 2012 example could be “Why women hate me for being beautiful.” In summary, the article written by Daily Mail columnist Samantha Brick. Brick momentarily leapt to the front of the newspapers as a rich visually striking personification relating to discourses of Beauty, Looks, Fashion, Lifestyle Femininity, depending on which representations you focus on. Brick relates to the subject that, in fact, “there are downsides in looking pretty.” (Mail online, 2012)

Women 24 an online Feminist news website on the other hand focuses on “the power of the internet which made Samantha Brick a celebrity overnight” (Lili Radloff, 2012)

Brick will just as quickly vanish from the public eye as the media seek new scoops, sensations and exclusive news stories. As Turner says: “celebrity has considerable explanatory power in a time of great complexity and contradiction.” (Turner et al., 2000, p.166). It’s the nature of Brick’s celetoid fame allowing mobilisation of her image in relation to broader social discourses.

The examples above shows how media proffers a way into thinking about femininity and celebrity. In turn, how a celebrity becomes a means for the media to utilise images in order to achieve their agenda. The first approach to representations of the female celebrity body, beauty and looks is as attributed celebrity with explanatory power. Concepts and identifications of gender are effected through the concentrated representations in social discourses that women are open to as they become images in the media. The first utilisation this study will focus on is the function of female celebrity in relation to discourses of the media, capitalism and social mobility.

Authenticity and Can-Do Ideology in Reality

According to Marshall (2006,p.4): “The major and essential component of the newspapers, newsmagazines, websites and blogs, TV and Radio Channels are the celebrity representations which is an intensifying and proliferating discourse which populates entertainment magazines in this twentieth century. This author claims that across contemporary western culture the Ascribed celebrity discourse is forever present through the people in the society’s attitudes and behavior. “A survey conducted by the journal of psychology research cyberspace revealed that between age 9 – 11’s primary value is currently “fame” (TCB.cnn.com, 2011).

The disconnection from the idea of achievement, to the ready -availability i.e opportunity to be a celebrity describes the discourse of can-do-ideology, which suggests that regardless of the barriers such as social background or lack of talent, you can become and do whatever you want.

However, many theorists focal point regarding the media-generated (achieved/attributed) celebrity in the west relating to issues such as individualism, power and subjectivity. Amongst which Rojek (2001), makes it clear that there is complexity between the achieved celebrity that is broad inn contrast to the ascribed celebrity. A contemporary celebrity appears to be all encompassing and its subdivisions include the constructed media celebrity ad also the celebrity who achieved fame purely by being good at something (Rojek 2001).

Liz Taylor

For example, Elizabeth Taylor British actress was an actress from her childhood days till she died. The philosophy that being a celebrity is a legitimate choice of occupation desirable and open to anyone and everyone. Gamson (1994) revealed a contradiction regarding the heart of celebrity image. They describe it as “something quite achievable or normal, un-natural and exotic.” (Gamson, 1994, p.1)

Exploring at depth the relations between discourses of realism or normality and the unnatural perfect body next has been trigger by the above ideology.

According to Marshall (2006) the contemporary celebrity ideology’s fundamental component are the sense of ‘realism’ and ‘authenticity’ He argues that the media provide an intoxicating image for an audience through “reality-effect” which is “alluring, (Marshall, 2006, p.3).

The celebrity industry’s policed form of reality combined with achieved/attributed celebrities’ (self made fame). Ultimately, it creates the “It could be you” effect all relating to managing and production of consumer desire.

Celebrities as Royalty

“The development of the contemporary society has allowed celebrities to fill the decaying popular idea of the death of God and the divine rights of kings in absence” (Rojek,2001,p.13).

Celebrity culture is a fundamental aspect of validating beliefs of capitalism, i.e by just buying into the right image you can become a celebrity since celebrities are real, claiming that

“The commodity consumption process is humanised by celebrities” (Rojek,2001,p.13).

For example, instead of the monarchial lineage recommended by definitions of ascribed celebrity, it also appears to be the case that achieved / attributed celebrities can do this in a more realistic way or a lot better, than ascribed celebrities I will further discuss research if this dream operates specifically relates to feminine desire.

However, Bradley also describes the idea that regardless of talent, social background and ability anyone can become a celebrity is a realistic function of celebrity, as Bradley phrases it, “the lure of consumerist celebrity – Live The Dream!” (Bradley, 2007, p.162).

Femininity and Celebrity Magazine Readership

In contemporary society debates central to feminism is now common as issues about gender and representation are often debated. Feminism perspectives vary from liberal feminism, black feminism, post modern feminism, described as either First, Second or Third wave feminism. (Boyle 2005:29). Boyle claims that the different perspectives are complex and therefore needed to be described in several waves.

Whelehan also describes the second wave as the most dominant in the society today.

“The second-wave feminism is more about the power of representation: and the need to challenge dominant ideological definitions of femininity is now recognised by women” (Whelehan,1995: 5).

For example the dominant paradigm between 1945 and 60’s that the “surburban housewife is the ideal woman to build the American woman’s life upon, rather than mythological “Happy Housewife” described by Betty Friedan (Friedan 1992:30).

Jackie Stacey: Realism and Exoticism

However, Jackie Stacey looked into the dilemma of female desire in relation to star image. She did this by focusing on the Hollywood films female spectators prefer.

Stacey’s (1994) work is a different history and way. Theoretical analytical requirements through cinematic method of observation from magazine readership analysis, transferring theories of celebrity is evident in her work on gendered consumption arguing that a fundamental element of a star/celebrity image involves a combination of realism and exoticism (Stacey 1994). In 1950’s Stacey wrote about female celebrity readership and representation today as well as consumption of Hollywood films. The celebrity has double image which is essential for reader identification relating to the could-be-you ideology. Also, it helps with increasing consumer goods consumption.

Indeed, in an analysis of celebrity consumption modes in contemporary world Turner refers to Stacey suggesting that, “Recognising Stacey’s argument is not difficult in the present trend in women consumer magazines by providing information for readers to get cheaper substitutes or specific celebrity clothes worn in celebrity pictures. (Turner, 2004, p.122). The construction of double image will be examined more in my primary research. However, I suggest that in order to ensure proper functioning of the celebrity industry escape and identification must work together consecutively.

Redmond and Holmes also focus on the relation between the star and the fan.

“Stars and celebrities are consumed and appropriated by fans in ways which have a profound effect on their identity, self-image, and sense of belonging.” (Redmond and Holmes, 2007, p.4).

References on Feminism in Celebrity Culture

Sources A-J

• Brady, A., 2016. Taking time between g-string changes to educate ourselves: Sinéad O’Connor, Miley Cyrus, and celebrity feminism. Feminist Media Studies, 16, pp. 429 – 444. https://doi.org/10.1080/14680777.2015.1137960.
• Brick, S., 2012. ‘Samantha Brick on the downsides to looking pretty.’ Daily Mail.
• Chidgey, R., 2020. Postfeminism™: celebrity feminism, branding and the performance of activist capital. Feminist Media Studies, 21, pp. 1055 – 1071. https://doi.org/10.1080/14680777.2020.1804431.
• Friedan, B. (1992). The Feminine Mystique (Penguin reprint ed.).

• Holmes, S., & Clayton, S., 2018. ‘It’s what Emmeline Pankhurst would have wanted.’ Celebrity Big Brother: Year of the Woman (2018, UK) and negotiations of popular feminism(s). Journal of Gender Studies, 28, pp. 545 – 562. https://doi.org/10.1080/09589236.2018.1552566.
• Isaksen, J., & Eltantawy, N., 2019. What happens when a celebrity feminist slings microaggressive shade? Twitter and the pushback against neoliberal feminism. Celebrity Studies, 12, pp. 549 – 564. https://doi.org/10.1080/19392397.2019.1678229.
• Jackson, S., 2020. “A very basic view of feminism”: feminist girls and meanings of (celebrity) feminism. Feminist Media Studies, 21, pp. 1072 – 1090. https://doi.org/10.1080/14680777.2020.1762236.

Sources K-Z

• Kanai, A., 2020. Between the perfect and the problematic: everyday femininities, popular feminism, and the negotiation of intersectionality. Cultural Studies, 34, pp. 25 – 48. https://doi.org/10.1080/09502386.2018.1559869.
• Keller, J., & Ringrose, J., 2015. ‘But then feminism goes out the window!’: exploring teenage girls’ critical response to celebrity feminism. Celebrity Studies, 6, pp. 132 – 135. https://doi.org/10.1080/19392397.2015.1005402.
• Lilburn, S., Magarey, S., & Sheridan, S., 2000. Celebrity Feminism as Synthesis: Germaine Greer, The Female Eunuch and the Australian print media. Continuum, 14, pp. 335 – 348. https://doi.org/10.1080/713657725.
• Stacey, J., Star Gazing: Hollywood Cinema and Female Spectatorship. New York: Routledge, 1994.
• Taylor, A., 2014. ‘Blockbuster’ celebrity feminism. Celebrity Studies, 5, pp. 75 – 78. https://doi.org/10.1080/19392397.2014.887537.
• Tennent, E., & Jackson, S., 2019. “Exciting” and “borderline offensive”: bloggers, binaries, and celebrity feminism. Feminist Media Studies, 19, pp. 225 – 238. https://doi.org/10.1080/14680777.2017.1391858.
• Whelehan, I. Modern Feminist Thought: From the Second Wave to “Post-Feminism.” New York: New York University Press, 1995.