Reinventing Social Types through Stars

The most relevant part of the Dyer reading to my post is when he explains how stars are "supremely figures of identification." Not only do they personify a social type, great stars transcend those norms and become individual. Watching Velvet Goldmine, however, made me realize how these qualities that they personify seem to be reproduced continuously.

Changing them only slightly to fit the slightly changed social types, these characters are not only developed, but are essentially nothing new. We discussed in class how Adam Lambert's image practically mimics that of David Bowie (through the Brian Slate character) even down to his hand mannerisms. I read an article a couple of weeks back (I don't know exactly what it was in), but they asked him to respond to the critical uproar that resulted from his American Music Awards performance. H

e responded simply stating that his performance was basically unplanned and anything that happened only represents exactly who he is. This same response was seen in Velvet Goldmine when the press ask Brian how he would respond if he is "accused" of being bisexual.

While watching Velvet Goldmine, I couldn't help but to also think about other stars who have consistently changed their image - and those that represent qualities of other stars. I don't think that anyone could doubt that Lady Gaga has reinvented her image dozens of times over the past year. At the American Music Awards, Lady Gaga changed her outfit five or six times in support of her album "The Fame Monster." Could this represent the idea that stars have to tirelessly reinvent themselves in order to stay within the spotlight?

Lady Gaga also represents qualities (one that Dyer points out that is extremely relevant is charisma) of other stars. For example, Lady Gaga's wild ever-changing style seems to resemble that of Grace Jones. Jones is known for her unique look at least as much as she is for her music - and became an icon because of that. Kurt Wild in Velvet Goldmine is a perfect example of this because he reminds us of Iggy Pop, Kurt Cobain AND Jim Morrison - all iconic stars with possibly similar qualities.

Another recent artist that I could not help, but to think of was Beyonce. When she came out with her recent album, she took on the persona of Sasha Fierce. This boosted her media attention tremendously. Or Diddy, P. Diddy, Puff Daddy, etc. Am I the only person that sees attributes in the Jonas Brothers' image that reminds me of The Beatles?

All of these are fueled and embraced by our culture - as is the Brian Slate character in Velvet Goldmine.

Questions for the class:

- If a star image is supposed to exemplify social types, how does such an out-of-the-ordinary character like Lady Gaga become such a relatable (or not?) star?

- What does it take for a media company to manifest such a star? Is it possible for a media company to create a star to manifest qualities that aren't even social types YET?

- Are there negative effects for a star to "reinvent" their persona?

Velvet Goldmine and Audience Relationships

To sum up this reading would be a massive undertaking, as much of it was an introduction to how to interpret stars in relation to our culture. The reading really made me think about modern day stars and our culture-- especially in regard to production and consumption, as stars today are not only "stars" or "celebrities," but they are million and billion dollar brands (rather than actual people).

Velvet Goldmine is an extraordinarily interesting movie, especially in regard to what it claims about stars, and especially what it depicts in terms of audience-star relationships. The relationship between Arthur (Christian Bale) and his relationship with Brian Slade (Jonathan Rhys Meyers) is certainly one of the most interesting, if not the most interesting, relationship in the film. Dyer explains this relationship in terms of "Stars as a phenomenon of consumption" and claims that the audience, or fans themselves, are the people who are most important in determining star contexts. Dyer writes that there are four categories of a star/audience relationship which are:

1. Emotional Affinity- where the "audience feels a loose attachment to a particular protagonist." This is certainly true in Velvet Goldmine, as Arthur is more than loosely attached to Brian Slade, he is close to infatuated with Slade.

2. Self-Identification- this is probably the most important for Arthur in regard to his relationship with Brian Slade. Arthur is clearly going through difficulties within his psyche, which are clearly made more difficult by his conservative parents and conservative society that he lives in. However, Brian Slade's ability to stand up to the conservative London and proclaim his bisexuality and his lack of fear to stand up to those who oppose his point of view really resonates with Arthur. Slade is more than just a role model for Arthur, Arthur feels literally and spiritually interconnected with Slade (or at least the character and star persona that he portrays).

3. Imitation- which is "the star acting as some sort of model for the audience." Brian Slade is clearly not only a role model for Arthurs, but is also a role model within society. He clearly stands up for sexual freedom, and creates (or at least helps start) the sexual revolution in London.

4. Projection- one step beyond imitation exists projection, which is "the point at which the process becomes more than a simple mimicking of clothing, hairstyle, kissing, and the like." Arthur not only physically imitates Brian Slade (by dressing as him and acting on his bisexual and homosexual impulses) but also projects himself in Slade's image. He imagines himself with Slade and imagines himself with Slade's identity and personality (i.e. when he dreams of telling off his parents, even though in all actuality, he would never be as outspoken as Slade is).

While Todd Haynes is clearly saying much more about the "star" than just about audience relations to the star, this is one of the most important aspects of the film.

Questions for class:

1. Who do we think is the most important or most influential star of our generation? Why? And how does this star fit into the consumption and production categories that Dyer lays out for us?

2. Dyer speaks a little bit about stars as being (or not being) politically influential. Do stars really have that much influence over our society?

3. Ideology is clearly important in terms of how stars are interpreted and who becomes a star. What ideologies are most important in Velvet Goldmine? Which ideologies do we think are the most important in contemporary Hollywood?

"Stars and Character" and Velvet Goldmine

In my entry, I’d like to highlight Dyer’s discussion of “Stars and ‘Character.’” Firstly, “particularisation of character” Dyer highlights occurs three-fold in Velvet Goldmine: the individuality of the fictional characters, the unique star personas of the same characters, and the stardom of the actors themselves. The ways in which characters within the movie (Arthur Stuart, Bale’s character, in particular) interpret the stardom of Brian Slade and Curt Wild were directly reflected in my own interpretations of the stardom of Christian Bale, Jonathan Rhys Meyers and Ewan McGregor.

While viewing Velvet Goldmine, I realized that Dyer’s perspective on the “construction of character” – that audiences use a variety of signs to construct the notion of a character – was very much in play. Signs such as audience foreknowledge, appearance, gesture and speech shaped my understanding of the characters themselves. Take Brian Slade’s star persona as an example: I previously knew that this film was to feature a 70s glam rock star, inferring historical and cultural knowledge and reflecting them upon Slade’s persona. From his appearance (i.e. ostentatious attire, heavy make-up and glitter, blue hair), and from his exaggerated gestures and speech (or songs) during performances, I deduced that he presented himself as an outrageous spectacle

Moreover, Velvet Goldmine substantiates Dyer’s concept of “stars as characters.” Observing Christian Bale’s performance as Arthur Stuart provides a perfect example. Bale, known for his edgy, complex performances, provides a sense of depth to Arthur’s character that reads beyond the script. Furthermore, his mere presence in the film signals a level of controversy and profundity that may not have been established for Velvet Goldmine had he been absent. Finally, his “fit” in this film can be seen as “problematic” as well: Bale’s typical dark, mysterious characters are typically far removed from innocence as a character trait, yet a young Arthur is written to be very naïve. Thus, Bale’s performance may read as less innocent as Arthur’s character was intended to be – a clear incidence of the stardom of Christian Bale affecting his portrayal of Arthur Stuart.

Questions for class:

1. Are personal interpretations of film also time-specific? For example, do audiences from the late 90s construct their understanding of characters from Velvet Goldmine differently than contemporary audiences?
2. Do “problematic fits” between stardom and character always distort the way in which film characters are intended to be viewed?
3. In Velvet Goldmine, can we fully separate the way we construct Brian Slade and Curt Wild’s characters as unique individuals and their characters as stars, or are they too intricately connected (as is often the case with real-world stardom and celebrity)?

Properties of Stardom and Velvet Goldmine

The film Velvet Goldmine exhibits many of Dyer’s principles as he addresses the properties of stardom. The idea of stardom as a phenomenon of consumption and production are evident through out the rise of Brian Slade. The phenomenon of consumption consists of the star in demand, and how the audience has to “relate” to the star or identify with them. Secondly the phenomenon of production consists of how the star is seen in Hollywood and the manipulation of Hollywood’s market and audience and how successful they will be in terms of profit. When Slade first took his step into stardom he did not represent the phenomenons that it takes to become a star of the time. Slade noticed this the first time he approached the stage at the outdoor concert, he did not receive the same wildly enthusiastic appreciation by the audience as the performer that followed him did. He quickly realized that by making a spectacle out of himself he would be able to increase his fan base and achievement into stardom. As he grew as a star the phenomenon of production grew with his name, he was able to inspire his young fan base to explore their sexuality and ultimately go against the norms of the time by wearing tight pants and make-up. Brian Slade in the 70’s is easily related to today’s rising star Adam Lambert, and his performance at the 2009 American Music Awards. Starting out as a young rising star it is crucial in the world of Hollywood to do something that makes you stand out from the other millions aspiring singers. Lambert, like Slade, knew exactly what to do to achieve the phenomenon of consumption by kissing the other guy on stage, as he was performing, and production as he has successfully trademarked himself with his own style. His performance, like Brian Slade created spectacle to the older audience, but not the younger generation. There seems to be a mask that is constantly worn by celebrities as to who they want to be portrayed as; the public approval seems to be more important than showing who they really are. Today, more than ever, it is easier for actors, and singers to come out and say whether they are gay, it is almost as if they are being slightly heroic for coming out, they allow people to identify with them and make them feel connected. On the other hand sports figures still have not come to the point where a male athlete can announce if he is gay, since it will no longer make them a phenomenon of production.

After analyzing these two celebrities and their appearance in the public eye it is hard to know what these stars are really like; are they hungry for attention as they rise to fame or has their obsession with fame taken over to change who they really are? Why is it easier for some celebrity professions to not wear as much of a mask than others? How would Brian Slade’s be accepted today as a celebrity figure?

Ian Farwell (Misc Post #1)

This is my first post I hope this works. I don't think I have seen anyone else post yet, so I hope I am doing this right.

I guess star sightings will be relatively easy for me this semester since I am taking the television symposium course at USC. As I am sure most of you know, the symposium features stars and cast members from many popular television shows. This week we watched a screening of Ray Ramano's Everybody Loves Raymond and his new show Men of a Certain Age. After the screening Ray Ramano and others came to a Q & A session with our class. Ray Ramano is actually funnier in person and I think everyone in the class had a pretty good time during the 2 hour Q &A. It was an interesting experience, because even though I don't like to pry into the personal lives of these stars it is interesting to look into their professional lives in order to better understand an industry that is a mystery to me. This non-personal agenda is well facilitated in the symposium, because we are not allowed to ask about their personal lives.

I don't know how interesting next week is gonna be, because I think we will be working on Melrose Place. LOL.