EXAM 1 Flashcards

1
Q

CELEBRITY AS… (3)

A
  1. CELEBRITY AS PATHOLOGY (at the top)
    • Fame and celebrity are scandalous, corrupt and contemptable
    • Wanting to be famous is constructed as something vacuous, greedy
    • People questioning the connection between fame, celebrity and talent; because think it’s unearned
    • View: celebrity does not have to be connected to any type of skill or intelligence, but the people who are famous more successfully promoted themselves
    1. CELEBRITY AS COMMODITY
      - We want celebrity because it is being SOLD to us
      - CAPITALISM
      - We give ourselves up to the easy pleasures of life
    2. CELEBRITY AS MEANING
      - Makes room for multi-dimensional experience of celebrity
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2
Q

FAME VS CELEB

A
  • Fame: a limited status, associated with individual demonstrations of superior skill
    • Have to have a skill set
    • Celebrity: transient, relying on marketing, timing and instant appeal
      Ø Celeb admits more figures than definition of fame allows
      Ø A force that valorizes individualism
      Ø Love island people example
      Ø Key to celebrity: getting people to know you so that they CARE about you, EX: kim k
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3
Q

ROJEKS TAXONOMY OF FAME

A

Ø Ascribed
- you don’t have a say (prince harry)

Ø Achieved
- You do have a say, achieved status of professor (lebron James)

Ø Attributed
- Television personality (ryan seacrest) 

Ø Celetoid 
- Celebrities that don't fit in, YouTube personalities, social media influencers 
- Category of celeb where there is hypervisibility, but super short lived, hawk tuah girl
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4
Q

HISTORY OF CELEB: THE RISE OF MASS CULTURE

A
  • ASTORS PLACE RIOTS
  • P.T BARNUM
  • RAILWAY
  • PHOTOGRAPHY/NEW VISIBILITY (1830’S)
  • NEWSPAPERS (1880’S)
  • RISE OF MIDDLE CLASS: MORE TIME TO THEMSELVES
  • VAUDEVILLE
  • POP WENT UP
  • CELEB MAGAZINES
  • CELEB SCANDAL
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5
Q

WHAT IS SOCIOLOGICAL THEORY

A
  • Helps us make sense of social life
    • It holds observations and facts TOGETHER
    • Imperial observations only make sense because we are interpreting within a type of theoretical framework
    • Theories make assumptions explicit, by doing so, it opens them up to examination and reformation
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6
Q

WEBER AND CHARASMATIC LEADERSHIP: LEGITIMATE DOMINATION

A
  1. Legal authority:
    • sometimes rational
    • domination is based on the rule of rationally established laws
    • Authority is not to that specific person, but the office of the law enforcement we are obeying
    • “what was continues to be”
    1. Traditional authority
      - Might be a king, tribal leader
      - “what was, is”
    2. Charismatic authority
      - Derives from an individual person’s charisma
      - The charisma that is possessed by the leader
      - The obedience is legitimated by that person seeming gifts
      - Sim between trad and char, both have loyalty that is owed to a person not an OFFICE
      - It hasn’t always been like this, but rather based on the leaders charisma to convince others they are “worth it” for example
      - Ex: alexander the great gets his obedience because he convinces everyone else of it
      - Charismatic leadership: demands for obedience are legitimated by the leader’s ”gift of grace”
      - Loyalty owed to the person, not the office
      - Charisma lasts only as long as the person is charge is able to provide benefits to their people
      - Used as a starting point to examine how celebrities do it
      - Charisma is applied to a certain quality of a person’s personality and treated as endowed, supernatural (weber quote)
      - Hiccup: Weber suggests that this would be VERY rare, but we are surrounded with celebrities
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7
Q

WEBER: CLASS, STATUS, PARTY

A

Status groups: a specific, positive or negative, social estimation of honor
Ø They are communities
Ø WEBER: the fate of these groups are not because of their position or group,
Ø the fate is determined by a social estimation of honor
Ø People make assumptions based on clothes, jobs etc, and they serve to limit interactions (ex: rich socialites only interact with other rich people)
Ø Once you can BUY your way into these memberships, we no longer think that is a good representation of social honor
Ø Ex: celebrities that bought their way into elite colleges, then it is no longer a good representation of social honor
Ø therefore they use very strict measures to control who can be apart of it
- Expressed through “style of life” or “conventions” Race, ethnicity, religion, taste in fashion and the arts, and occupation
- Once a membership into a style of life can be bought its ability to function as an expression of social honor or exclusivity is threatened
- Weber argued that status groups would eventually fade, once we move away from it, status itself would be less important
- Argued that class would decrease in importance too, article argues that this is not the case at all, rather the opposite

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8
Q

PRIVILEGES THAT COME WITH CELEB (4)

A
  1. Interactional Privilege
    Ø Attention
    Ø Idea that how the regular people interact with celebrities
    Ø We get nervous, etc
    Ø Reinforces their superior status, nobody asks a regular person for their picture
    Ø Mundane things they do still get attention
  2. Normative Privilege
    Ø Mimics and poseurs, authority, charisma
    Ø Idea that celebs are role models, right or wrong
    Ø Status elites have always attracted mimics, posers
    Ø Sanctuary laws: prevent people from buying things in order to keep those things exclusive to that particular group
  3. Economic Privileges
    Ø Fame is lucrative
    Ø No shit, you make a lot of $$
    Ø Capitalism accelerated the way celebs make money
    Ø Brand deals, their own companies, etc
  4. Legal Privileges
    Ø Right to publicity
    Ø Celebs own their image, they control when it’s used
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9
Q

STATUS DEFINITION

A

the accumulated approvals and disapprovals that people express toward an individual, a collectivity, or an object
- Visibility is an important component to having high status

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10
Q

4 KEY ELEMENTS TO STATUS

A
  1. Status is an in alienable resource
    Ø You cannot transfer status from one person to another
    Ø Because people’s opinions make up status
    Ø A drug dealer would not be of high status
    1. status is relatively in expansible
      Ø Contrast this power against others, ex: political power
      Ø Celebs can expand their power ONLY IN SOME CASES, ex: Kanye running for president
      Ø Why? Because in order for some to be high status, there needs to be people of low status
    2. Gain status through conformity to collective norms
      Ø Accent, domineer, body language can be indicators of status
      Ø Clothing and fashion (but can be acquired easily) that’s why trends change all the time, because the higher ups change it when the lower catch up and buy look alkies on sheen
    3. Gain status from social associations
      Ø If you associate with higher status people, your status goes up, if it’s lower status, yours goes down
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11
Q

MECHANICAL AND ORGANIC SOLIDARITY (DURK)

A

Ø Either way, every society needs a division of labor
Ø Economic benefits of division of labor, but most importantly the social benefits to it
Ø The social result of that division is social solidarity
Ø In simpler societies, people share feelings that can lead to social solidarity
Ø Acts as a common conciousness

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12
Q

ORGANIC SOLIDARITY THE UNIFYING FORCE OF THE SECULAR WORLD

A

Ø The unifying force of the secular force
Ø As the power of religion is diminishing, we see other things becoming more important, science, politics, etc
Ø Organic solidarity characterized by a bunch of differences
Ø Comes from the division of labor

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13
Q

GOFFMAN FRONT STAGE BACK STAGE

A
  • Idea of authenticity: we tend to admire in celebs when they’re authentic, we don’t like when they are fake / not genuine
  • Often unspoken yet precise rules of how we present ourselves to others
  • Front stage/back stage
    • Impression management: celebs have a deliberate public persona
    • BUT the front stage needs to appear as authentic
    • Back stage is where all the work happens to maintain the front stage: concealing things, making people sign NDA’s, etc
  • The audience (paparazzi, gossip magazines, Deux Moi, etc) watch celebrities and determine how genuine and likeable they are
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14
Q

CELEBRITY CULTURE AS A RESPONSE TO THE RISE IN BUREAUCRACIES

A

Bureaucracy: characterized by hierarchical structures, impersonal rules, emphasized rational rules of organizations, and the specific allocation of duties to specific job descriptions
- Problem with classes: can ask professor, but she only has one role, will send you to someone else. EVERYONE HAS ONE ROLE,
- Depersonalize: EVERYONE IS TREATED THE SAME WAY
- Ex: desk job
- In bur. There is no way to differentiate one worker from the other
* Celebrities offer a fantasy escape from this dehumanization/ bureaucracy
- Ex: celebs don’t wait in line
* interpersonal and legal privileges

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15
Q

CELEB CULUTRE AND NEOLIBERALISM

A

Market fundamentalism and trickle-down economics
* The market, not governments, redistribute wealth
* Neoliberalism insists on and promotes the need for an idealized, productive citizen
- Late 1970’s early 1980’s, lot of economic conditions; high inflation, low employment, so as a response, the neoliberal ideology came about, which abended how we approach problems
- Even with the gov, no economic growth, a response to the idea of the gov
- The gov needs to be hands off, things need to be privatized and we need to strengthen the individual rather than the government
- Idea of that the market will take care of itself, we don’t need welfare, child benefits, etc
- Trickle down economics, the positive effect will “trickle down” to everything else
- Idea that if you work hard enough, you should eb able to get a job, etc
- Promotes the idea for the idealized citizen
- Ex: it’s not enough that you like painting, you should monetize your interests; sell your paintings on etsy
- Celebs are an example of this “celebs work hard, so therefore they succeed”
- OSAP EX: neoliberalists would say the gov shouldn’t help you, you should be able to do it on your own
- Working hard as individuals is the key to a successful society
* No structural, institutional obstacles
* Celebrities personify the benefits of constant self-cultivation, self-monitoring, and self-transformation

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16
Q

TWO PERSPECTIVES ON FANDOM

A
  1. CULTURAL AND PASSIVE DUPES
    • Fans just passively consume various celebrity text (anything that we are consuming about the celeb, movie, song, Instagram picture)
    • We take whatever they give us and absorb it
    • Celebs a way to fuel capitalism
    • New media prevented people from seeing the world, understanding power relations in the real world, and from thinking clearly
    • Fans do nothing but accept any messages of celebs
  2. ACTIVELY APPROPRIATE CELEB TEXTS
    • We aren’t just passive, instead we actually critically and knowingly appropriate celeb texts and bestow new meanings
    • Celeb apologies: we read it, we criticize it, interpret it with skepticism
17
Q

MODELS OF FANDOM 1/2: STUART HALL- ENCODING/ DECODING

A

HOW MIGHT AUDIENCES MAKE OF THE MEDIA THEY CONSUME?

FACE VALUE
- Dominant meaning of text
- Uncritical about it
- Read the notes app apology and buy it
Pereferred meaning of the text, on the face

OPPOSITIONAL READINGS
- Reject premises, values, storylines
- Engage in oppositional readings
- “all news is biased, everything on TV is a lie”
- Rejects everything

NEGOTIATED READINGS
- Accept some elements of text while questioning or rejecting others
- In between the two above
- We bring our own experiences and knowledge to what we are reading, therefore accepting some of it and rejecting other parts
- The extent you engage in might be connected to the way you perceive it

18
Q

MODELS OF FANDOM 2/2: JOSHUA GAMSON- TYPOLOGY OF FANS

A
  • Help us understand the interpretive strategies that the celeb audience use, what sets apart the categories is the amount of knowledge the audience has on the production that’s used
  1. Traditionals
    * See fame as a recognition of internal gifts
    • “celebs are gifted, they’re not like us”
    • Believes most of what they read/ hear
    • Don’t have a ton of knowledge on the apparatus
    • Passive dupe
      ->
  2. Second-order traditional
    * Appreciate a more complex narrative
    • Appreciate the “publicity machine, rebuilding image” etc
    • It doesn’t undermine their view of the celeb though, they “still love timerlake”
    • They take it into account, but don’t care much
      ->
  3. Postmodernist/antibelievers
    * Total skeptics
    • Everything about celebs are artificial , a lie
19
Q

HOW FANS WORK TO PRODUCE MEANING: JOSHUA FISKE

A
  • The consumption of stuff that used to be high culture (fine wine, opera) boosts our cultural capital because it shows we have a specialized knowledge in something
    • Certain ways fans work to produce meaning
    1. SEMIOTIC PRODUCTIVITY:
      - “MADONNA” pushed back against appropriate femininity, gay stuff, etc and it SHAPED society
      - Breaks barriers for individuals
    2. ENUNCIATIVE PRODUCTIVITY:
      - The idea that through our fandom we have a shared commentary, sometimes negative commentary
      - A lot of the pleasure we get from being fans is through the talk
      - Important because through this talk, it affirms our values, what we like/don’t like and it BINDS us together
    3. TEXTUAL PRODUCTIVITY:
      - Fans circulate texts that are based on celebrities (TVS, MOVIES)
      - Ex: fan fictions
      - Allows the fans to alter the characters a little bit
20
Q

PRIVATE I AND PUBLIC ME: ROJEK

A
  • Priviate “I” = the real us
    • The public “me” = celeb
    • Social media closes the gap between those two
    • Makes us feel like we know them
21
Q

THEORETICAL UNDERSTANDS TO PARASOCIAL EXPERIENCES: PARASOCIAL ATTACHMENT (PSA)

A
  • Idea that the audience member looks to someone known from afar as a source of comfort, inspiration, security
    • You want to get close to someone for the purpose of feeling safe/ secure
    • People with insecure attachments or anxious attachments are more likely to form these attachments
22
Q

THEORETICAL UNDERSTANDS TO PARASOCIAL EXPERIENCES: PERSONALITY TYPE THEORY

A
  • extroverted: the flow of energy goes to the outer world
    • Introverted: flow of energy goes to the inner world
    • Introverted intuitive personality is the most likely to engage in para social relationships
23
Q

THEORETICAL UNDERSTANDS TO PARASOCIAL EXPERIENCES: ERICKSONS LIFESPAN THEORY

A
  • In the course of pour development, we go through stages, and in each of the stages we go through there is a primary risk
    • Young adulthood: young adults are faced with the task of intimacy vs isolation
    • Can be seen in the different ways we socialize
    • Girls are tend to seek intimacy before they fully grow up, identities tend to be based on those relationships (prioritize having/ getting a bf)
      Boys tend to be socialized for your identity to be socialized first, and THEN find intimacy
24
Q

THEORETICAL UNDERSTANDS TO PARASOCIAL EXPERIENCES: SOCIAL COGNITIVE THEORY

A
  • Interaction between our brain, our personality and our environment
    • We learn through the combination of those
      People serve as role models through a social learning way, shaping our human development
25
Q

DARK SIDE OF PARASOCIAL EXPERIENCES: EROTOMANIA / STALKING

A
  • Clear profile: socially isolated, single, show signs of mental illness, not super in touch with reality
26
Q

DARK SIDE OF PARASOCIAL EXPERIENCES: CELEB WORSHIP (3)

A
  1. SOCIAL ENTERTAINMENT
    • Most of us fall into this category
    1. INTENSE PERSONAL
      - Measured by if someone agrees with “this celeb is my soulmate” “if this celeb dies I want to die too”
      - Associated with decreased cognitive, problems with body image, seeking cosmetic surgery, high levels of depression, anxiety, stress, negative affect, and illness
    2. BORDERLINE
      - Person is willing to do anything the celeb asks, even if it’s against the law
      - Donald trump storming
      - Research finds that there are only 2 cases where para social relationships are pathological:
    3. When the relationship becomes a substitute for real person interactions
    4. When the person expects the celeb to pay you the attention you pay them
27
Q

PICTURE TO PERSONALITY STAR

A
  • The close-up
    • IDEA OF THE FEATURE FILM: was the most important development, the idea of the MOVIE STAR where people would be kept in a dark room “with” these celebs
    • Individual stars were BOUND to a studio (they owned their face, image, pictures, etc)
    • Only 1910’s did they release the names (because they didn’t was any of their bad behavior to impact the amount of people going to see the movies, also didn’t want the actors demanding higher pay)
    • Either way, people started recognizing the actors, they then realized they could use promoting actors to their advantage
    • It strengthened the feeling of connection between fans and actors
    • This was the time that studios realized they could make more money off them, advertisements, public appearances
    • If actors had ethnic names, they would make them change it
    • Mid 1910’s DW Griffin popularized the use of the close up- had a huge impact on fans and their relationships to celebs
      By 1920’s the “movie star” was a type of celeb
28
Q

DECLINE OF THE STUDIO SYSTEM

A
  • 1948: antitrust lawsuit against Hollywood studios
    Ø Lawsuit against the 5 studios
    Ø Vertical integration (they controlled all of it) bullied theatre owners to playing their movies
    Ø If you had a contract with paramount for example, you could ONLY do movies for paramount
    Ø By 1950 actors became free agents , now you had to sell yourself to get roles
    Ø This meant that the CELEBS IMAGE was up to them. They would hire teams to help them build their image
    • 5 major studios established (warner bros, paramount, MGM, fox and RKO) and they CONTROLLED everything
    • Slotted actors in categories (girl next door, villains, etc)
    • WW2: movie going reached it’s peak
    • INTRODUCTION OF TELEVISION: they no longer had to go to the movies to see what they wanted
29
Q

STAGED CELEB (ROJEK)

A
  • Calculated technologies and strategies of performance and self-projection designed to achieve a status of monumentality in public culture
    Ø Donald Trump for example: brand of capitalism on steroids
    Politicians are celebrities, celebrities can become politicians
30
Q

POWER VS POWERLESS ELITE

A
  • Stars’ sphere of influence limited to the level of culture
    Ø Alberoni Argued that there were always people that were easily recognizable, but didn’t have a ton of institutionalized power
    Ø He called these the POWERLESS ELITE: well-known, but sphere of influence is limited to the culture