Papers by Renee Middlemost
Celebrity Studies, Apr 3, 2022
Offspring is a long-form dramedy series that premiered on Australia\u27s Network Ten in 2010. Sin... more Offspring is a long-form dramedy series that premiered on Australia\u27s Network Ten in 2010. Since its debut, Offspring has worn its heart and location on its sleeve, with its Melbourne location prominent as an additional character. Here I demonstrate how the affective engagement of Offspring fans, in addition to the aesthetics of affect (Simon O\u27Sullivan 2001) aroused by Melbourne, can be framed in terms of authenticity. The work of Stanfill and Condis (2014) and Hills (2015c) is vital when considering the contradictions inherent in affective fan labor. Although the affective engagement prompted by the audience (the online outpouring of grief over the death of the character of Patrick, the sadness at the perceived end of the show) can be framed as authentic; the aesthetics of affect elicited by the Melbourne setting (walking tours of locations; the Nina effect on real estate and fashion) has been commodified. The commodification of affect by the program\u27s network can be interpreted as the inauthentic appropriation of fan labor, as many network promotions were drawn directly from online fan communities, such as websites documenting Nina style
Following its move to VH1 in 2017, Season 9 of RuPaul’s Drag Race (RPDR) was positioned to captur... more Following its move to VH1 in 2017, Season 9 of RuPaul’s Drag Race (RPDR) was positioned to capture a larger audience than ever before, boasting the strongest field of competitors in its ‘herstory’. This article maps the career trajectory of Season 9 winner Sasha Velour to determine how she distinguishes herself from previous champions. While winners of RPDR are expected to possess the virtues of charisma, uniqueness, nerve, and talent, Velour’s articulation of fame post RPDR has been informed by charisma and uniqueness, coupled with a consistent performance of an ‘authentic’ persona. Since winning Season 9, Velour has been an outspoken advocate for the transgender community and the need to diversify drag, in addition to drawing attention from the mainstream fashion industry for her art and style. Drawing inspiration from RPDR’s virtues, I argue that the performance of charisma and uniqueness are essential to interpreting the success of the drag celebrity persona as part of the ‘fame...
In 2015, Idris Elba declared \u27I\u27m probably the most famous Bond actor in the world … and I\... more In 2015, Idris Elba declared \u27I\u27m probably the most famous Bond actor in the world … and I\u27ve not even played the role\u27. Speculation about Elba taking on the role of the world\u27s most famous spy has circulated for over a decade, fuelled by current Bond Daniel Craig\u27s assertion that the role has ruined his life. This chapter will examine the role of fans in driving hype about the future of Bond, focusing on the case study of alt-right outrage at the potential casting of Elba. The anti-Elba camp have framed their outrage as informed by authorial intent, and the desire to maintain canon, with claims that Ian Fleming\u27s Bond was, and should always be white and Scottish. Bond\u27s expansive narrative universe has remained constant since its inception, enabling fans of the series to form an emotional connection and sense of ownership over the text as a cohesive brand, a form of \u27affective economics\u27 (Hills, 2015; Jenkins, 2006a). By situating the debate over Elba\...
Acknowledgements Introduction Chapter One: Defining Cult Films 1.1 "I would like, if I may, to ta... more Acknowledgements Introduction Chapter One: Defining Cult Films 1.1 "I would like, if I may, to take you on a strange journey": What is Cult Film? 1.2 "Fasten your seatbelts, it's going to be a bumpy night": Fan based accounts of Cult 1.3 "You've arrived on a rather special night": Promoting the cult Chapter Two: "Don't Dream It, Be It": The Rocky Horror Picture Show and The Creation of Fan Communities 2.1 "Give yourself over, to absolute pleasure": The Rocky Horror Picture Show 2.2 Reflections on Rocky: "Do you think I made a mistake splitting his brain between the two of them?" 2.3 "Enchante. Well! How Nice!" The Rocky Horror Picture Show fan community 2.4 "Whatever happened to Saturday night?" Fandom in everyday life Chapter Three: Other Audiences 3.1 Opinion Leaders and Active Audiences 3.2 Public Viewing: The Multiplex 3.3 Community viewing in Public 3.4 Public Viewing: The Art house 3.5 Film Festivals and Audiences 3.6 'Home is where the moving image is': Home cinema viewing 3.7 New Media, Interactivity and Spectatorship Chapter Four: Research Strategy 4.1 Towards filling the gap 4.2 Introducing … Australian cult film groups 4.3 The Research Process 4.4 Inside or Outside: The Position of the Researcher Chapter Five: "Beyond All Reason": Organisers of Cult Events 5.1 "A good many dramatic situations begin with screaming": Beginnings of cult screenings 5.2 "We accept her. One of us! One of us! Australian film as cult 5.3 "We return to Transylvania. Prepare the transit beam": The Place of Space 5.4 "I think perhaps you better both … come inside": Nostalgia and Access 5.5 "Due to the horrifying nature of this film, no one will be admitted to the theatre": Gatekeeping and Cult Fandom 5 5.6 Cult Film as a Shared Experience Chapter Six: Alternative Spaces: Audiences, Cult Viewing and Heterotopias 6.1 The Cult Audience in Australia 6.2 Ritual or Routine? Reasons for attending screenings 6.3 The Nexus of Public and Private Spaces 6.4 Other Spaces: Cult Viewing and Heterotopias Chapter Seven: Cult, Community and Nostalgia 7.1 Cult film and Nostalgia 7.2 Defining Community 7.3 Moving Community research forward Conclusion: Where Cult Meets Community Works Cited Appendices I would firstly like to thank my trio of supervisors-Brian Yecies, Sue Turnbull and Nicola Evans for being the 'Best Directors'. To Brian, for your long-term commitment to, and interest in my project, your support, 'tough love' when needed, and patience. To Sue, for your 'special guest appearance' in the final act as my wonderful second primary supervisor, who untangled the years of writing and gave me hope that finishing was possible. I truly appreciate your clarity and superior taste in footwear! And to Nicola for your cameo role in the final stages, as an insightful reader, and for providing much needed moral support. Thank you all so much! I must acknowledge all of the cult film organisers, audience members and participants who generously shared their time and insights. Special thanks to the core audience members in the Annandale group, and to the organisers of the Annandale screenings, Jay Katz and Miss Death, who shared so much of your knowledge during this journey-your screenings were both an escape, and a reminder of my passion for the topic. Thank you for allowing me access to your community, of which I am honoured to be a part. To my core support team, the Best Supporting Cast I could ask for-my Mum, Dad and Aaron, for your support and for never nagging me about being a 'professional student'; my fantastic friends Mish, Ryan, Jo, Leo, Eliza, Henry, Jeff, Ximena and Jackie, for listening to complaints, and offering distraction and hugs in equal measure; and to Brendan, for keeping me caffeinated. Finally, to two of the best leading men I know-my husband Andrew, for being my long suffering partner in crime, your unwavering support, never resenting the time spent on the project and for always being up for repeat viewings and cult movie madness! Finally, to my brother Glenn, for introducing me to the best coffee in Melbourne, and always asking about my studies when you were in the fight of your life. I promised to finish my thesis-this is for you.
You Are Tearing Me Apart, Lisa!
Diver. Model. Music Video Dancer. Street Hustler. Actor. While his real-life career choices may b... more Diver. Model. Music Video Dancer. Street Hustler. Actor. While his real-life career choices may be more diverse than his acting roles, Jason Statham\u27s on-screen persona has unquestionably confirmed his role as one of cinema\u27s most successful contemporary action heroes. As his popularity has grown, so too has his reputation as a modern action (anti) hero, and the logical successor to the legacy of Stallone, Schwarzenegger and Willis. Yet in many ways, Statham\u27s tongue-in-cheek acknowledgement that he is no Cruise or Pitt also imbues him with an authentic likeability beyond that of his hardman action roles, with 54 million followers of his Facebook account alone
From Blofeld to Moneypenny: Gender in James Bond, 2020
In 2015, Idris Elba declared ‘I’m probably the most famous Bond actor in the world … and I’ve not... more In 2015, Idris Elba declared ‘I’m probably the most famous Bond actor in the world … and I’ve not even played the role’. Speculation about Elba taking on the role of the world’s most famous spy has circulated for over a decade, fuelled by current Bond Daniel Craig’s assertion that the role has ruined his life. This chapter will examine the role of fans in driving hype about the future of Bond, focusing on the case study of alt-right outrage at the potential casting of Elba. The anti-Elba camp have framed their outrage as informed by authorial intent, and the desire to maintain canon, with claims that Ian Fleming’s Bond was, and should always be white and Scottish. Bond’s expansive narrative universe has remained constant since its inception, enabling fans of the series to form an emotional connection and sense of ownership over the text as a cohesive brand, a form of ‘affective economics’ (Hills, 2015; Jenkins, 2006a). By situating the debate over Elba’s suitability within the timeline of the Bond franchise, the author will posit that the rigid casting and structure of the film series to date enables feelings of fan ownership to flourish. Whilst the influence of vocal fan groups has altered the future direction of numerous popular texts, this chapter will suggest that the sameness of Bond-as-brand provides the justification for fan backlash towards potential change. In sum, this chapter will highlight the Elba-as-Bond rumours as a reflection of the contemporary political moment which seeks to flatten out difference under the auspice of protecting the canon and tradition of ‘brand Bond’.
Intercultural Communication, Identity, and Social Movements in the Digital Age, 2019
The Routledge Companion to Cult Cinema, 2019
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Papers by Renee Middlemost
In case studies including Supernatural, Harry Styles, YouTube influencers, film location sites, Keanu Reeves, and celebrities as fans, readers find new approaches to fan/celebrity encounters and parasocial relationships. This is the go-to volume on the symbiotic relationship between fame and fandom.
Reviews
“Too often fame and fandom have been studied as separate or discrete phenomena. In this groundbreaking edited collection not only are they powerfully brought together, but their manifestations and mutations are explored in both on and offline spaces. Transnational and contemporaneous in nature, with a wonderful set of case studies, Fame and Fandom will be on every serious celebrity and fandom scholar’s bookshelves by the end of the year.”—Sean Redmond, Deakin University
“I was highly impressed by this book and its scope, focus, and standard of scholarship. The research here asks new questions, vitally challenging some of the assumptions and work that has come before. Overall, this work makes a beautifully strong and valuable contribution to fan and celebrity studies.”—Lucy Bennett, Cardiff University