Celebrity and power: Fame in contemporary culture

Celebrity and Power: Fame in Contemporary Culture

Volumn , Issue , 2014, Pages 1-291

  David Marshall, P ^a  

^a DEAKIN UNIVERSITY   (Australia)

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References (303)

1. Jean Baudrillard, For a Critique of the Political Economy of the Sign., trans. Charles Levin (St. Louis, Mo.: Telos, 1981).
2. For a discussion of the (advertising) image, exchange value, and use value, Sut Jhally, The Codes of Advertising: Fetishism and the Political Economy of Meaning in Consumer Society(London: St. Martin’s Press, 1987).
3. Marlon Brando, Robert Lindsey, Brando: Songs My Mother Taught Me(London: Century, 1994).
4. Michael Jackson, Moonwalk(London: William Heinemann, 1988), 12.
5. Kirk Douglas, The Ragman’s Son: An Autobiography(New York: Simon & Schuster, 1988).
6. Richard Dyer, Stars(London: British Film Institute, 1979).
7. Individualism, as an English term, first appeared in Henry Reeves’s translation of Alexis de Tocqueville’s Democracy in America in 1862. J. S. McClelland, The Crowd and the Mob (London: Unwin Hyman, 1989), 157.
8. Leo Braudy, The Frenzy of Renown: Fame and Its History(New York: Oxford University Press, 1986), 434.
9. Leo Braudy, The Frenzy of Renown: Fame and Its History(New York: Oxford University Press, 1986), 437.
10. Thomas Carlyle, On Heroes, Hero-Worship and the Heroic in History (New York: Ams, 1969 [first given as a lecture series in 1839]).
11. Joshua Gamson, Claims to Fame: Celebrity in Contemporary America(Berkeley: University of California Press, 1994), 27.
12. Max Horkheimer and Theodor Adorno, “The Culture Industry: Enlightenment as Mass Deception,” in The Dialectic of Enlightenment(New York: Continuum, 1972), 123-71.
13. Herbert Marcuse, One-Dimensional Man: Studies in the Ideology of Advanced Industrial Society(Boston: Beacon, 1992).
14. Leo Lowenthal, “The Triumph of Mass Idols,” in Literature, Popular Culture and Society, (Palo Alto, Calif.: Pacific, 1961[1944]), 109-40. An interesting application of Loewenthal’s division of “idols of production” and “idols of consumption” is carried out by Barbi Zelizer, who assesses the relevance of this division in contemporary society as it relates to television journalism in general and Dan Rather’s form of celebritydom in particular.
15. Zelizer, “What’s Rather Public about Dan Rather: TV Journalism and the Emergence of Celebrity,” Journal of Popular Film and Television 17 (Summer 1989): 74-80.
16. Daniel Boorstin, The Image(New York: Atheneum, 1962).
17. Jean Baudrillard, “The Ecstasy of Communication,” in Hal Foster (ed.), The Anti-Aesthetic: Essays on Postmodern Culture(Port Townsend, Wash.: Bay, 1983), 126-34.
18. Alexander Walker, Stardom: The Hollywood Phenomenon(London: Michael Joseph, 1970), 21.
19. Christian Metz, Psychoanalysis and Cinema: The Imaginary Signifier(London: Macmillan, 1982).
20. John Ellis, Visible Fictions: Cinema, Television, Video (London: Routledge, 1982), 58-60, 96-99.
21. Edgar Morin, Les Stars(Paris: Seuil, 1972)
22. quoted in Dyer, Stars, 24.
23. Fransesco Alberoni, “The Powerless ‘Elite’: Theory and Sociological Research on the Phenomenon of the Stars,” in Denis McQuail (ed.), Sociology of Mass Communications(London: Penguin, 1972).
24. James Monaco, “Celebration,” in James Monaco (ed.), Celebrity(New York: Delta, 1978), 8-9.
25. James Monaco, “The Mythologizing of Citizen Hearst,” in James Monaco (ed.), Celebrity(New York: Delta, 1978), 65-78.
26. Monaco, “Celebration,” 12.
27. Richard Dyer, Heavenly Bodies: Film Stars and Society(London: British Film Institute/Macmillan Education, 1986), 18.
28. Richard Dyer, Heavenly Bodies: Film Stars and Society(London: British Film Institute/Macmillan Education, 1986), 2.
29. Richard Dyer, Heavenly Bodies: Film Stars and Society(London: British Film Institute/Macmillan Education, 1986), 8-11.
30. Richard Dyer, Heavenly Bodies: Film Stars and Society(London: British Film Institute/Macmillan Education, 1986), 15-16.
31. Serge Moscovici, The Age of the Crowd: A Historical Treatise on Mass Psychology, trans. J. C. Whitehouse (Cambridge: Cambridge University Press, 1985), 219-20.
32. Serge Moscovici, The Age of the Crowd: A Historical Treatise on Mass Psychology, trans. J. C. Whitehouse (Cambridge: Cambridge University Press, 1985), 289.
33. Max Weber, Economy and Society, vol. 3 (New York: Bedminster, 1968), 1112.
34. Max Weber, Economy and Society, vol. 3 (New York: Bedminster, 1968), 1118.
35. Max Weber, Economy and Society, vol. 3 (New York: Bedminster, 1968), 1120.
36. Max Weber, Economy and Society, vol. 3 (New York: Bedminster, 1968), 1141-46.
37. Max Weber, Economy and Society, vol. 3 (New York: Bedminster, 1968), 954.
38. Max Weber, Economy and Society, vol. 3 (New York: Bedminster, 1968), 1135.
39. Max Weber, Economy and Society, vol. 3 (New York: Bedminster, 1968), 1146, 1156.
40. Sigmund Freud, “Group Psychology and the Analysis of the Ego” (1921), in James Strachey (ed.), The Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. 18 (London: Hogarth, 1955), 65-143.
41. Sigmund Freud, “Group Psychology and the Analysis of the Ego” (1921), in James Strachey (ed.), The Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. 18 (London: Hogarth, 1955), 168.
42. Sigmund Freud, “The Future of an Illusion” (1927), in Civilization, Society and Religion, vol. 12 (Harmondsworth: Penguin, 1985), 190.
43. Sigmund Freud, Moses and Monotheism, vol. 13 (Harmondsworth: Penguin, 1985), 381-83.
44. I am drawing this elaboration of Freud from Moscovici’s analysis in The Age of the Crowd, 300-302.
45. See George Rude’s writing on the crowd, particularly The Crowd in History: 1730-1848(Washington, DC: Serif, 1995).
46. Jiirgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society(Cambridge: MIT Press, 1991), 5-15.
47. Alexis de Tocqueville, Democracy in America, trans. George Lawrence (Garden City, N.Y.: Doubleday, 1969).
48. Jeremy Bentham, The Principles of Morals and Legislation (New York: Hafner, 1948[1789]).
49. John Stuart Mill, On Liberty (Harmondsworth: Pelican, 1976[1859]), particularly 175-80.
50. McClelland, The Crowd and the Mob, 77.
51. McClelland, The Crowd and the Mob, 74-81.
52. Serge Moscovici, The Age of the Crowd: A Historical Treatise on Mass Psychology, trans. J. C. Whitehouse (Cambridge: Cambridge University Press, 1985), 61-65.
53. J. C. Whitehouse (Cambridge: Cambridge University Press, 1985), 55-56.
54. Gustave Le Bon, The Crowd: A Study of the Popular Mind (New York: Viking, 1960[1901]), 16.
55. Gustave Le Bon, The Crowd: A Study of the Popular Mind (New York: Viking, 1960[1901]), 3.
56. Gustave Le Bon, The Crowd: A Study of the Popular Mind (New York: Viking, 1960[1901]), 184.
57. Moscovici, The Age of the Crowd, 107-54. The relation of woman to the primitive through the linking of the crowd to the female is not specific to Le Bon. Gabriel Tarde may have stated the case more forcefully when he asserted that crowds of women are the most dangerous and atavistic. To see the breadth of this construction of fear and threat through the symbol of woman
58. Susannah Barrows, “Metaphors of Fear: Women and Alcoholics,” in Distorting Mirrors (New Haven, Conn.: Yale University Press, 1981), 43-72.
59. McClelland, The Crowd and the Mob, 10.
60. Susannah Barrows, Distorting Mirrors(New Haven, Conn.: Yale University Press, 1981), 73-92
61. McClelland, The Crowd and the Mob, 138-54.
62. McClelland, The Crowd and the Mob, 185-86.
63. Gabriel Tarde, La Logique Sociale(Paris: Alcan, 1895), 98
64. quoted in Moscovici, The Age of the Crowd, 172.
65. For a good overview of the conservative critique of mass society, Alan Swingewood, The Myth of Mass Culture(London: Macmillan, 1977), 1-22.
66. Max Horkheimer and Theodor Adorno, The Dialectic of Enlightenment(New York: Continuum, 1972).
67. Floyd H. Allport, Social Psychology(Boston: Houghton Mifflin, 1924), 6
68. quoted in Carl Graumann, “The Individualization of the Social and the Desocialization of the Individual: Floyd H. Allport’s Contribution to Social Psychology,” in Carl Graumann and Serge Moscovici (eds.), Changing Conceptions of the Crowd(New York: Springer-Verlag, 1986), 103.
69. Graumann, “The Individualization of the Social,” 100.
70. Graumann, “The Individualization of the Social,” 100-101.
71. Allport, Social Psychology, 308
72. quoted in Graumann, “The Individualization of the Social,” 104, 108.
73. Allport, Social Psychology, 430
74. quoted in Graumann, “The Individualization of the Social,” 110.
75. Graumann, “The Individualization of the Social,” 111.
76. See, for instance, Harold D. Lasswell, Propaganda Technique in the World War (New York: Garland, 1972[1927]).
77. Todd Gitlin, “Media Sociology: The Dominant Paradigm,” Theory and Society 6 (1978): 205-53.
78. For the connection to Columbia and to network research interest, Jeremy Tunstall, The Media Are American: Anglo-American Media in the World(London: Constable, 1977), 205-6.
79. Paul Lazarsfeld, Bernard Berelson, and Hazel Gaudet, The People’s Choice(New York: Columbia University Press, 1948)
80. Elihu Katz and Paul Lazarsfeld, Personal Influence(New York: Free Press, 1955).
81. E. P. Thompson, The Making of the English Working Class(New York: Random House, 1963).
82. Richard Hoggart, The Uses of Literacy: Changing Patterns of English Mass Culture(Boston: Beacon, 1957).
83. Raymond Williams, The Long Revolution(Harmondsworth: Pelican, 1965), 64-88.
84. Stuart Hall, “Notes on Deconstructing the ‘Popular,’“ in Raphael Samuel (ed.), People’s History and Socialist Theory(London: Routledge & KeganPaul, 1981), 228.
85. Stuart Hall, “Notes on Deconstructing the ‘Popular,’“ in Raphael Samuel (ed.), People’s History and Socialist Theory (London: Routledge & KeganPaul, 1981), 239.
86. John Fiske, Understanding Popular Culture(Boston: Unwin Hyman, 1989), 19.
87. John Fiske, Reading the Popular(Boston: Unwin Hyman, 1989), 4.
88. Hebdige, Subculture, 5-19.
89. Iain Chambers, Popular Culture: The Metropolitan Experience(London: Methuen, 1986).
90. Allan Sica, Weber, Irrationality and the Social Order(Berkeley: University of California Press, 1988), 168.
91. Wolfgang Mommsen, “Personal Conduct and Societal Change: Towards a Reconstruction of Max Weber’s construction of History,” in Sam Whimster and Scott Lash (eds.), Max Weber, Rationality and Modernity(London: Allen & Unwin, 1987), 47.
92. Sam Whimster and Scott Lash, “Introduction,” in Sam Whimster and Scott Lash (eds.), Max Weber, Rationality and Modernity(London: Allen & Unwin, 1987), 7.
93. Jurgen Habermas, Legitimation Crisis, trans. Thomas McCarthy (Boston: Beacon, 1975)
94. Habermas’s The Theory of Communicative Action, vol. 1, Reason and the Rationalization of Society, trans. Thomas Mc-Carthy (Boston: Beacon, 1984).
95. Whimster and Lash, “Introduction,” 12.
96. Weber, Economy and Society, vol. 3 (New York: Bedminster, 1968), 6
97. quoted in Sica, Weber, Irrationality, 205.
98. Sica, Weber, Irrationality, 158-60, 206-8.
99. Weber, Economy and Society, 1112.
100. Weber, Economy and Society, 476
101. Pierre Bourdieu, “Legitimation and Structure Interest in Weber’s Sociology of Religion,” in Sam Whimster and Scott Lash (eds.), Weber, Rationality and Modernity (London: Allen 8c Unwin, 1987), 125.
102. Sica, Weber, Irrationality, 216
103. based on Weber, Economy and Society, 389.
104. Bourdieu, “Legitimation and Structure Interest,” 131.
105. Bourdieu, “Legitimation and Structure Interest,” 130.
106. Michel Foucault, “What Is an Author?” in Language, Counter-Memory, Practice(Ithaca, N.Y.: Cornell University Press, 1977).
107. Roland Barthes, Mythologies, trans. Annette Lavers (London: Paladin, 1973[1957]).
108. Antonio Gramsci, “Hegemony, Relations of Force, Historical Bloc,” in David Forgacs (ed.), Antonio Gramsci Reader (Schocken: New York, 1988). My reading of Gramsci is an adaptation of his use of hegemony in the tradition of Stuart Hall, Dick Hebdige, Iain Chambers, and others associated with British cultural studies. To attach the term culture to hegemony makes the reading and use of cultural forms an active struggle over meaning and consensus, where the reading of cultural texts is an arena for the negotiation of legitimacy and illegitimacy.
109. Gilles Lipovetsky, LEre du vide: essais sur Vindividualism contemporain(Paris: Gallimard, 1983), 82.
110. Judith Williamson, Decoding Advertisements(London: Marion Boyars, 1978).
111. Sut Jhally, The Codes of Advertising: Fetishism and the Political Economy of Meaning in Consumer Society(London: St. Martin’s Press, 1987).
112. Dick Hebdige, Subculture: The Meaning of Style(London: Methuen, 1979), 103-4.
113. The following analysis is drawn from my previous work on the audience. P. David Marshall, “Deconstructing Class/Constructing the Audience: Some Considerations Concerning Popular Culture and Power,” paper presented at the annual meeting of the Canadian Communication Association, University of Windsor, June 1988
114. “The Construction of Difference and Distinction in Contemporary Cultural Forms: An Analysis of the Magazines of Popular Music,” unpublished Ph.D. project, April 1989, chs. 1-2.
115. Ang’s work on the television audience develops this idea of the epistemological categorization of the television audience. len Ang, Desperately Seeking the Audience(London: Routledge, 1991).
116. Louis Althusser, “Ideology and Ideological State Apparatuses,” in Lenin and Philosophy(London: New Left, 1971).
117. John Fiske, “British Cultural Studies,” in Robert C. Allen (ed.), Channels of Discourse: Television and Contemporary Criticism(Chapel Hill: University of North Carolina Press, 1987), 259.
118. Hans Robert Jauss, “Literary History as a Challenge to Literary Theory,” in Toward an Aesthetic of Reception, trans. Timothy Bahti (Minneapolis: University of Minnesota Press, 1982), 23
119. quoted in Richard C. Holub, Reception Theory: A Critical Introduction(London: Methuen, 1984), 61.
120. Jauss, “Literary History,” 43
121. quoted in Holub, Reception Theory, 68.
122. Holub, Reception Theory, 83.
123. Hans Robert Jauss, Aesthetic Experience and Literary Hermeneutics, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1982).
124. Hans Robert Jauss, “Interaction Patterns in the Identification of the Hero,” in Aesthetic Experience, 153-54.
125. Hans Robert Jauss, “Interaction Patterns in the Identification of the Hero,” in Aesthetic Experience, 155.
126. Hans Robert Jauss, “Interaction Patterns in the Identification of the Hero,” in Aesthetic Experience, 166-68.
127. Hans Robert Jauss, “Interaction Patterns in the Identification of the Hero,” in Aesthetic Experience, 172-73.
128. Hans Robert Jauss, “Interaction Patterns in the Identification of the Hero,” in Aesthetic Experience, 177.
129. Hans Robert Jauss, “Interaction Patterns in the Identification of the Hero,” in Aesthetic Experience, 181.
130. Hans-Georg Gadamer, Philosophical Hermeneutics(Berkeley: University of California Press, 1976).
131. See, for example, Richard Dyer, Stars(London: British Film Institute, 1979)
132. Edgar Morin, Les Stars(Paris: Seuil, 1972).
133. John Hartley, Politics of Pictures(London: Routledge, 1992).
134. Michel Foucault, Discipline and Punish: The Birth of the Prison(New York: Random House, 1979), 202.
135. Cornelis Wegman, Psychoanalysis and Cognitive Psychology: A Normalization of Freud’s Earliest Theory(New York: Academic Press, 1985), 247-49.
136. Jean-Frangois Lyotard, The Postmodern Condition, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1984[1979]).
137. Fredric Jameson, “Postmodernism and Consumer Culture,” in Hal Foster (ed.), The Anti-Aesthetic: Essays on Postmodern Culture(Port Townsend, Wash.: Bay, 1983), 119.
138. Jean Baudrillard, “The Ecstasy of Communication,” in Hal Foster (ed.), The Anti-Aesthetic: Essays on Postmodern Culture(Port Townsend, Wash.: Bay, 1983), 126-34.
139. Lawrence Grossberg, It’s a Sin: Politics, Postmodernity and the Popular(Sydney: Power, 1988), 42.
140. Lawrence Grossberg, “The In-difference of Television,” Screen 28 (Spring 1987): 41.
141. Lawrence Grossberg, “Rock and Roll in Search of an Audience,” in James Lull (ed.), Popular Music and Communication(Newbury Park, Calif.: Sage, 1987), 175-97.
142. Richard DeCordova, “The Emergence of the Star System and the Bourgeoisification of the American Cinema,” in Star Signs(London: BFI Education, 1982), 66.
143. The exceptions to this could be seen to be Edison’s films made in studios nevertheless, the emphasis was still on the “wonderment” of the technology and the novelty of moving images. For a thorough reading of early cinema, Charles Musser, History of the American Cinema, vol. 1, The Emergence of Cinema: The American Screen to 1907(New York: Charles Scribner’s Sons, 1990).
144. For an account of the connection of vaudeville to film, Robert C. Allen, Vaudeville and Film 1895-1915: A Study in Media Interaction (New York: Arno, 1980 [originally published as a Ph.D. dissertation, University of Iowa, 1977]).
145. Alexander Walker, Stardom: The Hollywood Phenomenon(London: Michael Joseph, 1970).
146. Benjamin Bowles Hampton, History of the American Film Industry from Its Beginnings to 1931 (New York: Dover, 1970[1931]).
147. Janet Staiger, “Seeing Stars,” in Christine Gledhill (ed.), Stardom: Industry of Desire (London: Routledge, 1991), 6-10 (first published in Velvet Light Trap 20 [Summer 1983]).
148. Walker, Stardom, 44-45.
149. Edgar Morin, Les Stars(Paris: Seuil, 1972), 18.
150. Edgar Morin, Les Stars(Paris: Seuil, 1972), 21.
151. Walker, Stardom, 36.
152. Joshua Gamson, Claims to Fame: Celebrity in Contemporary America(Berkeley: University of California Press, 1994), 57-78.
153. Morin, Les Stars, 11.
154. Richard De Cordova, Picture Personalities: The Emergence of the Star System in America(Urbana: University of Illinois Press, 1990).
155. Douglas Gomery, The Hollywood Studio System(London: BFI/Macmillan, 1986), 173-80.
156. Richard Sennett, The Fall of Public Man(New York: Random House, 1974), 204-5.
157. Elizabeth Burns, Theatricality(London: Longman, 1972).
158. Constantin Stanislavski, Creating a Role, ed. Hermine I. Popper, trans. Elizabeth Hapgood (New York: Routledge, 1989[1961]).
159. Barry King, “Articulating Stardom,” Screen 26(September-October 1985): 45-48.
160. Barry King, “Articulating Stardom,” Screen 26 (September-October 1985): 45.
161. Barry King, “Articulating Stardom,” Screen 26 (September-October 1985)
162. King draws this distinction in relative value from Hortense Powdermaker, Hollywood: The Dream Factory (Boston: Little, Brown, 1950), 206.
163. King, “Articulating Stardom,” 48.
164. For an interesting survey of the work on fandom, Lisa Lewis (ed.), Adoring Audience: Fan Culture and Popular Media (London: Routledge, 1992).
165. Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture(London: Routledge, 1992).
166. Morin, Les Stars, 75-83.
167. Margaret Thorpe, America at the Movies., 66.
168. Pierre Bourdieu, “The Aristocracy of Culture,” in Distinction: The Social Critique of the Judgment of Taste(Cambridge: Harvard University Press, 1984), 11-96.
169. Richard Dyer, Stars(London: British Film Institute, 1979), 43-45.
170. Stuart Ewen, Captains of Consciousness (New York: McGraw-Hill, 1976).
171. Ewen speaks of youth as a “consumption ideal,” and this idea is integrated successfully into David Buxton’s critique of rock stars in Le Rock: star systeme et societe de consommation (Grenoble: La Pensee Sauvage, 1985), ch. 3.
172. DeCordova, Picture Personalities, 1-23.
173. Several articles appeared that established the first evidence of Cruise as a recognizable star, including D. Hutchings, “No Wonder Tom Cruise Is Sitting Pretty — Risky Business Has Paid Off in Stardom,” People, September 5, 1983, 107-8
174. “Tom Cruise Makes All the Right Moves,” Teen, December 1983, 54-55
175. E. Miller, “Tom Cruise: An Actor with Heart,” Seventeen, February 1984, 63-64. The first article about Cruise to appear in Rolling Stone, the magazine most closely associated with youth and young adult culture, was coordinated with the release of Top Gun
176. C. Connolly, “Winging It,” Rolling Stone, June 19, 1986, 36-38, 89.
177. On the structure of feeling, Raymond Williams, The Long Revolution(Harmondsworth: Penguin, 1965), 64-88.
178. Laskas, “Car Crazy.”
179. DeCordova, Picture Personalities, 98-105.
180. DeCordova, Picture Personalities, 117-21.
181. DeCordova, Picture Personalities, 125-30.
182. Dyer, Stars
183. “Cruise Guns for the Top: An All-American Kid Wins Over Audiences,” Newsweek, June 9, 1986, 73.
184. Jennet Conant, “Lestat C’est Moi,” Esquire, March 1994, 70-76.
185. “Tom Cruise and His Movie Machine,” Us, August 6, 1990, 25.
186. National Enquirer, July 17, 1990, 20.
187. Ronald Brownstein, The Power and the Glitter: The Hollywood-Washington Connection(New York: Random House, 1990), 298.
188. Vincent Canby, “Brotherly Love of Sorts,” New York Times, December 16, 1988, C12.
189. For an in-depth reading of performance and the construction of romantic dyads in films, Virginia Wright Wexman, Creating the Couple: Love, Marriage and Hollywood Performance (Princeton, N.J.: Princeton University Press, 1993).
190. Janet Maslin, “ ‘Paradise Lost’ Inspires Meditation on Vampires,” New York Times, October 28, 1993, C15, C20.
191. Conant, “Lestat C’est Moi.” A profile of how Cruise was dealing with the negative publicity around the film just prior to its release can be found in Kevin Sessum, “Cruise Speed,” Vanity Fair, October 1994.
192. Geffen Pictures advertisement, New York Times, October 2, 1994, 12.
193. For a thorough discussion of how the domestic nature of viewing shapes the way television is, in fact, used, David Morley, Family Television (London: Comedia, 1986).
194. For a concise history of the precursors to television and television technology, Roy Armes, On Video (New York: Routledge, 1988), ch. 2.
195. For a concise history of the precursors to television and television technology, Roy Armes, On Video (New York: Routledge, 1988), 44-45. There was also originally a royalty in Britain on the selling of receivers, which was abandoned in 1924. The main source of financing then became an annual licensing fee.
196. Erik Barnouw, Tube of Plenty, 2d rev. ed. (New York: Oxford University Press, 1990), 57-58.
197. John Langer, “Television’s Personality System,” Media, Culture & Society 4 (1981): 352.
198. John Langer, “Television’s Personality System,” Media, Culture & Society 4 (1981): 365.
199. The idea of the anchor in television can be thought of conceptually as similar to Barthes’s anchorage. Barthes refers to the way in which photos are anchored by the written captions that position the reading of the photos by the viewer. The news anchor similarly helps position the world for the viewer. Roland Barthes, “Rhetoric of the Image” (1964), in Image-Music-Text (New York: Hill & Wang, 1977), 38-41.
200. Langer, “Television’s Personality System,” 357.
201. Robert C. Allen, Speaking of Soap Operas(Chapel Hill: University of North Carolina Press, 1987), 117.
202. Tania Modleski, Loving with a Vengeance: Mass-Produced Fantasies for Women(New York: Methuen, 1984).
203. Martha Nochimson, No End to Her: Soap Opera and the Female Subject(Berkeley: University of California Press, 1992).
204. Mary Ellen Brown, Soap Opera and Women’s Talk: The Pleasure of Resistance (Thousand Oaks, Calif.: Sage, 1994).
205. For further discussion of the link between feminist scholarship and television soap opera, Charlotte Brunsdon, “The Role of Soap Opera in the Development of Feminist Television Scholarship,” in Robert C. Allen (ed.), to be continued: Soap Opera around the World(London: Routledge, 1995), 49-65.
206. Jeremy G. Butler, “ Tm Not a Doctor, but I Play One on TV’: Characters, Actors and Acting in Television Soap Opera,” in Robert C. Allen (ed.), to be continued: Soap Opera around the World(London: Routledge, 1995), 146.
207. Langer, “Television’s Personality System,” 359.
208. Dana Kennedy, “Oprah: Act Two,” Entertainment Weekly, September 9, 1994, 20.
209. Joshua Gamson, Claims to Fame: Celebrity in Contemporary America(Berkeley: University of California Press, 1994), 113.
210. Gloria-Jean Masciarotte, “C’mon, Girl: Oprah Winfrey and the Discourse of Feminine Talk,” Genders 11 (Fall 1991): 83.
211. Gloria-Jean Masciarotte, “C’mon, Girl: Oprah Winfrey and the Discourse of Feminine Talk,” Genders 11 (Fall 1991), 86.
212. For further discussion of the audience’s position and participation and ultimately its link to a contemporary public sphere, Sonia Livingston and Peter Lunt, Talk on Television: Audience Participation and Public Debate(London: Routledge, 1994).
213. Michel Foucault, The History of Sexuality, vol. 1 (New York: Random House, 1980 [1978]), 17-21, 123-29.
214. “Shocking Secrets Stedman Hides from Oprah,” Globe, May 7, 1991, 13.
215. The most common sites for defenses of Oprah’s integrity are the mainstream black magazines Ebony and Essence. See, for example, “Oprah in Her Own Words,” Essence, June 1989.
216. “Oprah in Her Own Words,” 46.
217. “Oprah in Her Own Words,” 102.
218. “She’s Fat and Happy at Last: Exclusive Oprah Wedding Plans — ‘I Want to Have Two Babies,’“ National Enquirer, February 5, 1991, cover story.
219. Marjorie Rosen, “Oprah’s Vow: I Will Never Diet Again,” People, January 14, 1991, 82-91.
220. Marjorie Rosen, “Oprah’s Vow: I Will Never Diet Again,” People, January 14, 84.
221. In June 1994, Oprah had a public auction of her oversized clothes as part of her attempt to bury her larger figure of the past. Time, May 16, 1994, 9
222. “Rack Race,” People, July 4, 1994, 42.
223. Dana Kennedy, Entertainment Weekly, September 9, 1994
224. Robert La Franco, “The Top 40,” Forbes, September 26, 1994, 113-14.
225. David Buxton, Le Rock: star systeme et societe de consommation(Grenoble: La Pensee Sauvage, 1985), 30.
226. John Shepherd, Tin Pan Alley(London: Routledge, 1982), 9.
227. Buxton, Le Rock, chs. 1-2.
228. Steve Chappell and R. Garafalo, Rock ‘n’ Roll Is Here to Pay: The History and Politics of the Music Industry(Chicago: Nelson-Hall, 1977).
229. Roi Jones Le [Imamu Amiri Baraka], The Blues People (New York: Morrow, 1963) (reissued, Edinburgh: Payback, 1995).
230. Buxton, Le Rock, 27.
231. Buxton, Le Rock, 27-29.
232. Buxton, Le Rock, 26.
233. Shepherd, Tin Pan Alley, 103-5.
234. Roland Barthes, “The Grain of the Voice,” in Image-Music-Text(New York: Hill & Wang, 1977), 179-89.
235. Buxton, Le Rock, 33.
236. Shepherd, Tin Pan Alley, 97.
237. Buxton, Le Rock, 37.
238. See in particular Le Rock., 64-68
239. Shepherd, Tin Pan Alley, 135-38
240. and Richard Middleton’s discussion of subjectivity in Studying Popular Music (Buckingham: Open University Press, 1990), 266.
241. Frith, Sound Effects, 182-94.
242. Buxton, Le Rock, 71.
243. See in particular the development of British subcultural studies: Stanley Cohen, Folk Devils and Moral Panics(London: McGibbon & Kee, 1972)
244. Stuart Hall and Tony Jefferson (eds.), Resistance through Rituals: Youth Subcultures in Post-War Britain(London: Routledge, 1990)
245. Dick Hebdige, Subculture: The Meaning of Style(New York: Methuen, 1979).
246. Simon Frith and Howard Home, Art into Pop (London: Methuen, 1987), ch. 2.
247. Robert Pattison, The Triumph of Vulgarity: Rock Music in the Mirror of Romanticism (New York: Oxford University Press, 1987). Pattison maintains that rock music epitomizes a contemporary version of romantic pantheism.
248. Frith, Sound Effects, 147. In fact, this statistic on the success of records roughly parallels the success rate for the introduction of any new consumer product.
249. Paul Grein, “New Kids Have Blockbuster Year,” Billboard, December 23, 1989, 10
250. “New Kids Top Tour List,” Variety, December 13, 1990, 52.
251. Ed Christman, “New Kids’ Step by Step Sells by Leaps and Bounds,” Billboard, June 16, 1990, 6, 92.
252. Steve Dougherty, “The Heartthrobs of America,” People, August 13, 1990, 78.
253. Grace Catalano, New Kids on the Block(New York: Bantam, 1989), 5.
254. Catalano, New Kids on the Block, 4.
255. Typical of such reportage is D. Wild, “Puberty to Platinum,” Rolling Stone, November 2, 1989, 15-17. Even more typical is the general overlooking of the band in many music publications, including Creem.
256. Catalano, New Kids on the Block, 16.
257. Chappell and Garafalo, Rock ‘n’ Roll Is Here to Pay.
258. Susan McClary, Feminine Endings: Music, Gender, and Sexuality(Minneapolis: University of Minnesota Press, 1991).
259. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991).chs. 6-7.
260. Lynn Goldsmith, New Kids (New York: Rizzoli/Eastman Kodak, 1990), n.p.
261. For example, one teen magazine feature about Joe Mclntyre was titled “Get Cozy with Joey,” Superteen, February 1992, 20.
262. Goldsmith, New Kids.
263. In addition, they changed their name to just the initials NKOTB, and the first single from the album, the raunchy “Dirty Dawg,” was released on a white label. Even Columbia’s publicity listed the group in anagram fashion as BONK-T. They dropped their Svengali, Maurice Starr, and took on other producers who allowed them greater control to return to the musical roots they love. Craig Rosen, “Columbia, NKOTB ‘Face the Music’ with New Album,” Billboard, January 15, 1994, 10.
264. Hans Robert Jauss, “Interaction Patterns of Identification with the Hero,” in Aesthetic Experience and Literary Hermeneutics, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1982), 168-72.
265. Hans Robert Jauss, “Interaction Patterns of Identification with the Hero,” in Aesthetic Experience and Literary Hermeneutics, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1982), 173.
266. Jauss, “Interaction Patterns,” 184.
267. Edwin Diamond and Stephen Bates, The Spot: The Rise of Political Advertising on Television(Cambridge: MIT Press, 1988).
268. Benjamin Ginsberg, The Captive Public: How Mass Opinion Promotes State Power(New York: Basic Books, 1986).
269. William Leiss, Stephen Kline, and Sut Jhally, Social Communication in Advertising(Toronto: Nelson, 1990), 281-83.
270. Elias Cannetti, Crowds and Power, trans. Carol Stewart (Harmondsworth: Penguin, 1973[1960]).
271. Charles S. Steinberg, The Creation of Consent: Public Relations in Practice(New York: Hastings House, 1975), 27.
272. Stanley Kelley Jr., Professional Public Relations and Political Power (Baltimore: Johns Hopkins University Press, 1958), 17-18.
273. Stanley Kelley Jr., Professional Public Relations and Political Power (Baltimore: Johns Hopkins University Press, 1958), 19.
274. Steinberg, The Creation of Consent, 29.
275. Kelley, Professional Public Relations, 2.
276. Benjamin Ginsberg, The Captive Public: How Mass Opinion Promotes State Power(New York: Basic Books, 1986).
277. Benjamin Ginsberg, The Captive Public: How Mass Opinion Promotes State Power (New York: Basic Books, 1986).especially 32-58.
278. Benjamin Ginsberg, The Captive Public: How Mass Opinion Promotes State Power(New York: Basic Books, 1986).78.
279. Benjamin Ginsberg, The Captive Public: How Mass Opinion Promotes State Power(New York: Basic Books, 1986).79.
280. Benjamin Ginsberg, The Captive Public: How Mass Opinion Promotes State Power(New York: Basic Books, 1986).75-80.
281. Garth Jowett, “Giving Them What They Want: Movie Audience Research before 1950,” in Bruce A. Austin (ed.), Current Research in Film: Audiences, Economics and Law, vol. 1 (Norwood, N.J.: Ablex, 1985), 19-35 on one-word titles, see 31.
282. Leiss et al., Social Communication in Advertising, 327-48.
283. Daniel Boorstin, The Image (New York: Atheneum, 1977[1961]).
284. Kathleen Hall Jamieson and Karlyn Kohrs Campbell’s analysis of the campaign in The Interplay of Influence: The Mass Media and Their Publics in News, Advertising and Politics (Belmont, Calif.: Wadsworth, 1983), 233-37. Graham won this election campaign and became Florida’s governor in November 1978.
285. For an interesting reading of the meaning and significance of these public spectacles and the way in which they shape the meaning of legitimate culture, David Chancy, Fictions and Ceremonies(London: Comedia, 1979).
286. “The Big Sell,” on The Journal, CBC, September 1988.
287. David Taras, The Newsmakers: The Media’s Influence on Canadian Politics (Scarborough: Nelson, 1990), 135.
288. Weber, Economy and Society, 954, 1141-46.
289. A good interpretation of the organization of the spectacle of American political conventions and a reading of the dual role of the convention as a forum for establishing party solidarity and as a way of conveying that solidarity in a televisualized form is found in Byron E. Shafer, Bifurcated Politics: Evolution and Reform in the National Party Convention(Cambridge: Harvard University Press, 1988), 226-89.
290. My reading of taste differentiations is derived from Pierre Bourdieu, Distinction: The Social Critique of the Judgment of Taste(Cambridge: Harvard University Press, 1984).
291. Diamond and Bates, The Spot, 127-33, 25-30
292. L. Patrick Devlin, Political Persuasion in Presidential Campaigns (New Brunswick, N.J.: Transaction, 1987), ch. 18.
293. Stuart Hall, “Popular-Democratic vs. Authoritarian Populism: Two Ways of ‘Taking Democracy Seriously,’“ in Alan Hunt (ed.), Marxism and Democracy (London: Lawrence Wishert, 1980).
294. The approach is drawn from Lawrence Grossberg, It’s a Sin: Politics, Postmodernity and the Popular (Sydney: Power, 1988), 25-28.
295. Andrew Ross, No Respect: Intellectuals and Popular Culture(New York: Routledge, 1989), 135-70.
296. Daniel Bell, The End of Ideology(New York: Free Press, 1962).
297. George, October/November 1995.
298. John F. Kennedy Jr., “Editor’s Letter,” George, October/November 1995, 9.
299. John F. Kennedy Jr., “Editor’s Letter,” George, October/November 1995, 10.
300. Madonna, “If I Were President,” George, October/November 1995, 280
301. “George Wallace,” George, October/November 1995, 180-87.
302. John F. Kennedy Jr., “Politics and Other Dirty Words: John Kennedy Talks to Warren Beatty about Our Favorite National Pastimes,” George, December/January 1995-1996, 180-86
303. “Pop Politics” 140-44.