scholarly journals Animation and the Star Body

2019 ◽  
Vol 23 (2) ◽  
pp. 194-211
Author(s):  
Julie Lobalzo Wright
Keyword(s):  
Star Body ◽  
Star Image ◽  
Ron Clements ◽  
John Musker ◽  
Film Stars ◽  
The Relationship

Animation has employed film stars throughout its long history; however, there have been few studies that have examined the relationship between film stardom and animation. This article explores the fantasy and illusion that is present through individual film stars and the medium of animation by investigating one particular example of the employment of a film star image within animation, Dwayne “The Rock” Johnson in Moana (Ron Clements and John Musker, 2016), and with a particular focus on the human and animated body.

scholarly journals From Below to Above the Title: the Construction of the Star Image of Barbara Stanwyck, 1930-1935

2009 ◽  
Vol 2 (1) ◽  
Author(s):  
Linda Berkvens
Keyword(s):  
Research Method ◽  
Female Representation ◽  
Star Image ◽  
Practical Examination ◽  
Film Stars

This paper examines the construction of the star image of Barbara Stanwyck from her first role at Columbia studio in 1930, until 1935, when she became a freelance actress. I will focus especially on Stanwyck’s status as a female performer and the possible models of womanhood she portrayed. The work she did, and the accompanying publicity, raises questions about female representation, which I seek to address through this research. I will mainly use archival resources such as fan magazines, press books, and studio publicity material, contemporary to the period to examine how Stanwyck’s star image was constructed in this period. Traditionally, scholars look at film stars as part of the filmic text. My research method includes the use of other material (publicity, studio documents, etc.) contemporary to Stanwyck, and demonstrates my intention to look at stars and their images from a different angle. This paper challenges the traditional way of looking at stars as fetishised objects, instead moving toward a more practical examination of the construction of the female star image.

scholarly journals A ‘Somewhat Homely’ Stardom: Michael Denison, Dulcie Gray and Refurnishing Domestic Modernity in the Postwar Years

2015 ◽  
Vol 12 (1) ◽  
pp. 25-44
Author(s):  
Hollie Price
Keyword(s):  
Young Lady ◽  
Postwar Period ◽  
Domestic Life ◽  
Star Image ◽  
Popular Films ◽  
Middlebrow Culture ◽  
British Cinema ◽  
History Of ◽  
Film Stars ◽  
Husband And Wife

The husband and wife acting duo, Michael Denison and Dulcie Gray, achieved popular acclaim in British cinema during the 1940s, Gray in They Were Sisters (1945) and Denison in My Brother Jonathan (1948). Following the success of My Brother Jonathan (in which Gray also appeared), the couple's star status was soon cemented by roles together on screen, including notably The Glass Mountain (1949), The Franchise Affair (1951), Angels One Five (1952) and There Was a Young Lady (1953). As a result of these roles in popular films and images of the couple in extra-cinematic culture, a picture of cosy, domestic consensus became irrevocably associated with Denison and Gray's status as British film stars, much to Denison's later chagrin.Rachael Low's History of the British Film suggests that British actors and actresses have not been deemed worthy of the glamorous connotations of star status because they are ‘somewhat homely in comparison with legendary international figures’ (1971: 263). In this period, the Denisons’ star image was characterised by the ‘homely’: by a vision of their domestic life together as at once aspirational, ordinary and English. However, this article argues that their stardom can be resituated as a postwar reformulation of modes linking British stars with ideas surrounding domestic modernity in the middlebrow culture of the interwar years. Therefore, Low's label of homeliness can be redefined as a key characteristic of the distinction, promotion and reception of popular British stardom in the immediate postwar period.

An analysis of celebrity repositioning through reality television

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Shradha Kabra ◽  
Sumanjit Dass ◽  
Sapna Popli
Keyword(s):  
Reality Television ◽  
Qualitative Interviews ◽  
Reality Tv ◽  
Extensive Literature ◽  
Content Type ◽  
Indian Context ◽  
Film Stars ◽  
Almost All ◽  
The Impact ◽  
The Relationship

PurposeReality television is a dynamic, profit-making platform that occupies prime-time slots on the television almost all over the world. Despite its immense popularity and influence, it has received little attention in the extant literature and almost none in terms of its impact on celebrity repositioning. This study aims at examining the relationship between the film stars as brands and the impact of the platform of reality television in repositioning these celebrities in the Indian context.Design/methodology/approachThrough extensive literature review and qualitative interviews, the paper expounds that reality television provides an opportunity to celebrities to successfully reposition themselves at crucial junctures in their career. The framework to study this repositioning has been adopted from the work of Chris Simms and Paul Trott (2007) who created it to study the brand repositioning of various consumer goods.FindingsThe literature establishes celebrities as brands. This study provides evidence that brand repositioning through reality television is possible for these celebrity brands. The symbolic and functional repositioning of these celebrities is presented through thematic content analysis.Research limitations/implicationsThe study provides a useful framework to understand celebrity brand repositioning through reality TV. It can also be replicated to understand the repositioning of a wide variety of celebrities other than film-stars such as sportspersons, social media influencers and politicians.Originality/valueThe paper contributes to the need of expanding the corpus of Indian reality television and explains how Indian celebrities reposition themselves through reality television.

scholarly journals Watch the Birdie: The Star Economy, Social Media and the Celebrity Group Selfie

2015 ◽  
Vol 8 (6) ◽  
Author(s):  
Ellen Wright
Keyword(s):  
Cultural Capital ◽  
Audience Participation ◽  
Religious Leaders ◽  
Social Functions ◽  
The Public ◽  
Star Image ◽  
Star Studies ◽  
Vicarious Consumption ◽  
Film Stars ◽  
Heads Of State

This 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.

scholarly journals From Nestoroff to Garbo: Pirandellian Humour in Its Cinematic Vernacular. 29

2008 ◽  
Vol 29 (2) ◽  
pp. 29-52
Author(s):  
Michael Syrimis
Keyword(s):  
Mass Culture ◽  
Happy Ending ◽  
Star Image ◽  
Hollywood Cinema ◽  
The Core ◽  
Multiple Identity ◽  
Female Protagonist ◽  
Identity Constructs ◽  
Explicit Discourse ◽  
The Relationship

A discussion of the 1932 Hollywood adaptation of Pirandello's 1930 play, Come tu mi vuoi, in the context of Miriam Hansen's analysis of Hollywood cinema as "vernacular modernism" allows us to explore the relationship between Pirandello's umorismo and mass culture. The coexistence of multiple identity constructs in the absence of one stable identity is at the core of umorismo and is vividly dramatized in the play's presumably amnesiac female protagonist. The film's humoristic dimension is found not so much in its explicit discourse on identity, which the film's happy ending largely tends to resolve, as in its peculiar reconstruction of the Greta Garbo star-image, lying in excess of the film's story and diegesis, which shares with Pirandello's humour the constellation of diverse and competing images as projected onto the figure of the female protagonist.

Bobby Fischer: Chess, genius and madness at the height of the cold war

2016 ◽  
Vol 33 (S1) ◽  
pp. S634-S635
Author(s):  
C. Llanes Álvarez ◽  
A. San Román Uría ◽  
S. Gómez Sánchez ◽  
R. Hernández Antón ◽  
J. Valdés Valdazo ◽  
...  
Keyword(s):  
Cold War ◽  
Mentally Ill ◽  
Scientific Literature ◽  
Complex World ◽  
The World ◽  
Biographical Film ◽  
Competing Interest ◽  
Film Stars ◽  
The Cold War ◽  
The Relationship

IntroductionDirected by Edward Zwick “Pawn Sacrifice” is a biographical film released on September 2015. The film stars Tobey Maguire as Bobby Fischer, the American World Chess Champion, considered one of greatest player of all time. His career's peak was in 1972 when he captured the World Chess Championship from Boris Spassky of the USSR.AimsWe tried to dig a little in the biography of Bobby Fischer who many described as mentally ill. We tried to figure out what is reality and what is just legend about Fischer. Our goal is promote chess, and also honour the great Fischer. Moreover, we wanted to explore the scientific literature published about the benefits of playing chess, especially in childhood.MethodsWe made an exhaustive review of the author's life, and also testimonies of people who knew him. Moreover, we found some articles that review the relationship between chess and IQ trying to confirm or debunk some myths about this legendary game.ResultsIt was incomprehensible to everyone that the top of the career of Bobby Fischer at the same time meant an abrupt and complete fall. One possible explanation for this attitude would be a mentally unbalance not specified disorder throughout his lifespan.ConclusionsNot all geniuses are crazy, neither all crazy are geniuses. A genius is a person with extraordinary capabilities, that focused on a topic, has the ability to enlight new ways to explain this complex world, whether it is to create a symphony, paint masterpiece or the next move on the chessboard.Disclosure of interestThe authors have not supplied their declaration of competing interest.

In your face: Montgomery Clift comes out as crip in The Young Lions

2017 ◽  
pp. 225-239
Author(s):  
Elisabetta Girelli
Keyword(s):  
Queer Theory ◽  
Star Image ◽  
Star Studies ◽  
Crip Theory ◽  
Film Stars

This chapter concerns the “aberrant” star image of Montgomery Clift in The Young Lions, after his accident and the loss of his conventional good looks. It analyses Clift’s deliberate self-distortion as an act of subversive intervention in his own image and seeks to challenge traditional star studies which overwhelmingly highlight notions of pleasure and attraction in relation to film stars. With reference to queer theory and crip theory, the chapter opens the field of star studies to the troubling, painful and allegedly ghastly connotations of film stars.

scholarly journals Cultural Appropriation of Polynesian Portrayed In Moana Movie

2021 ◽  
Vol 3 (2) ◽  
pp. 92-98
Author(s):  
Nurul Fatha ◽  
Maryam Adam ◽  
Rudianto A. Manaku ◽  
Sesar Tangkilisan
Keyword(s):  
Cultural Exchange ◽  
Original Form ◽  
Cultural Appropriation ◽  
Ron Clements ◽  
John Musker ◽  
Source Data ◽  
Qualitative Descriptive ◽  
Cultural Dominance ◽  
Descriptive Method

This research aims to identify and describe cultural appropriation that were found in Moana. Cultural appropriation is one of the negative actions that can harm one culture. This action generally occurs due to a lack of understanding and appreciation of a culture. Based on Rogers[6] cultural appropriation as the use of a culture's symbols, artifacts, genres, rituals, or technologies by members of another culture, is inescapable when cultures come into contact, including virtual or representational contact. Rogers also divided cultural appropriation into four types, there are cultural exchange, cultural dominance, cultural exploitation, and transculturation. Based on Rogers theory above, cultural appropriation that were found in Moana is cultural exploitation. This research was used Qualitative descriptive method. The source data of this research are from “Moana” by Ron Clements and John Musker. This movie was released in 2016 with 113 minutes duration. This analysis shows there are four points of cultural appropriation that were found in “Moana”. Firstly, depiction figure of “Maui”, a demigod figure illustrated very different from the original form in the movie Moana. Secondly, depiction of Kakamora people. Thirdly, depiction of the cliché coconuts. Fourthly, Disney removing Maui’s family out of the tale. This leads to deviations in views towards the representatives of the population and Polynesian beliefs.

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