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dc.contributor.authorWright, Ellenen
dc.date.accessioned2016-03-23T15:06:22Z
dc.date.available2016-03-23T15:06:22Z
dc.date.issued2015-12
dc.identifier.citationWright, E. (2015) Watch the Birdie: The Star Economy, Social Media and the Celebrity Group Selfie. Networking Knowledge. 8, (6)en
dc.identifier.issn1755-9944
dc.identifier.urihttp://ojs.meccsa.org.uk/index.php/netknow/issue/view/50/showToc
dc.identifier.urihttp://hdl.handle.net/2086/11690
dc.description.abstractThis work will explore some of the broader implications of celebrity group selfies, through the example of Ellen DeGeneres’ star-studded group shot, taken during the 2014 Academy Awards ceremony, Joan Collins 2014 Prince’s Trust Award selfie, just days after, and Collins’ subsequent ‘view from the other side’ tweet; exploring notions of authenticity, performance, intimacy, self-promotion, public visibility, identification, imitation, vicarious consumption and audience participation. Engaging with existing work upon celebrity tweeters, Twitter and other online fandom, photographic theory, star studies and, in particular, Bourdieu’s theories surrounding cultural capital, taste formation, and cultural distinctions, this work not only explores some of the reasons behind the frequently negative judgements of celebrity group selfies, but also seeks to identify some of the very real social functions and more personal gratifications, both for celebrity and fan, that the celebrity group selfie, as a communication and a self-promotional tool, may actually satisfy. More specifically, it is this paper’s contention that selfies offer an ostensibly unmediated, accessible and virtually instantaneous means of articulating and disseminating a coherent, identifiable, aspirational (yet bizarrely, also, seemingly ‘ordinary’) and eminently marketable star image, via a popular and up-to-date medium. With celebrity group selfies this is also the case, but here the photographer subject presents an image of themselves to the world, in relation to a specific group of peers (who themselves also function as signifiers and commodities); perpetuating the notion of a pantheon of star ‘gods’ and the myth of a coherent celebrity community; reinforcing the divide between ‘famouses’ and ‘normals’ and participants and observers; prompting an exponential rise in fan/public interest as more stars enter the equation and allowing the celebrity participants within the image to either borrow some of the greater ‘worth’, ‘status’ or cultural capital of other, more eminent, celebrity subjects also pictured or alternatively, lend their superior cultural capital to less successful celebrities within the image. As such, this work seeks to move beyond a hasty dismissal of such images, their subjects, and their audiences and instead, hypothesise a coherent set of reasons why the most-photographed individuals on the planet (not just film stars, but heads of state and religious leaders) might feasibly choose to create, appear in and/or disseminate such images (or, indeed, decline to participate as did Prince Charles in Joan Collins’ group shot) and why the public may find these images of such interest.en
dc.language.isoenen
dc.subjectHollywooden
dc.subjectcinemaen
dc.subjectselfiesen
dc.subjectcelebrity group selfiesen
dc.subjectstardomen
dc.subjectphotographyen
dc.subjectTwitteren
dc.subjectcultural capitalen
dc.title‘Watch the Birdie': The Star Economy, Social Media and The Celebrity Group Selfieen
dc.typeArticleen
dc.researchgroupCinema and Television History Research Centreen
dc.peerreviewedYesen
dc.funderN/Aen
dc.projectidnot applicableen
dc.researchinstituteCinema and Television History Institute (CATHI)en


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