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2011, Convergence: The International Journal of Research Into New Media Technologies
Social media technologies let people connect by creating and sharing content. We examine the use of Twitter by famous people to conceptualize celebrity as a practice. On Twitter, celebrity is practiced through the appearance and performance of 'backstage' access. Celebrity practitioners reveal what appears to be personal information to create a sense of intimacy between participant and follower, publicly acknowledge fans, and use language and cultural references to create affiliations with followers. Interactions with other celebrity practitioners and personalities give the impression of candid, uncensored looks at the people behind the personas. But the indeterminate 'authenticity' of these performances appeals to some audiences, who enjoy the game playing intrinsic to gossip consumption. While celebrity practice is theoretically open to all, it is not an equalizer or democratizing discourse. Indeed, in order to successfully practice celebrity, fans must recognize the power differentials intrinsic to the relationship.
Celebrity Studies, 2014
Educational Technology and Change
Neal Gabler argued that "celebrity" in the United States developed as technological innovations in media created an insatiable cultural desire for public recognition. As Twitter continues to grow at an exponential rate, this drive to reach wider and more diverse audiences becomes more alluring. Predicated on the idea of instant publicity. Twitter enables a constant search for recognition by one's "followers," likening them to the fan base enjoyed by traditional celebrities. Much like with Reality television and YouTube, Twitter may be fundamentally changing the ways in which we configure celebrity status. In other words, the drive of "celebrity" guides the use of Twitter. In this essay, I argue the desire to address and be addressed by one's "followers" on Twitter creates a new reality, a hyper-public media environment, which further confiâtes the public and private as well as the distinction between online and offiine.
Celebrity Studies, 2017
How do fan and celebrity identities become established on Twitter? A study of 'social media natives' and their followers This study explores the changing relationship in the digital era between celebrities and fans by examining a group of emerging celebrities and their followers on Twitter. Seven crime authors were chosen as a case sample, each of which published their first work after 2010 and might therefore be regarded as 'social media natives'. The authors' followers were categorized according to their self-descriptions into various professional and non-professional groups (e.g., 'publishing industry professionals', 'fellow crime authors'). In some of these groups, notably 'aspiring authors' and 'book fans/bloggers', the performance of fandom was not always found to be uni-directional. Microanalysis of authors' interactions with followers suggested that traditional media audience categories such as 'fan' have become looser in social media where all users are 'followers' and perform multiple identities. In particular, book bloggers seem to have carved out an important role as legitimizing agents within the crime fiction field. Crime authors on Twitter 3 How do fan and celebrity identities become established on Twitter? A study of 'social media natives' and their followers
Global Media and China, 2018
In meeting the changing demands of authenticity and visibility in social media, performances of identity and connections are discussed to entail new socio-technical labours and digital literacies. Research has looked into the construction and presentation of celebrity identities, in light of these developments, but has paid little attention on the celebrities’ experiences and perspectives, which is also due to the lack of willingness of industry insiders in this culturally sensitive business to be interviewed and genuinely talk about its problems. Twelve in-depth interviews with celebrities and entertainment industry practitioners were conducted between 2014 and 2015. Particularly, this paper draws on the cases of two established celebrities in Hong Kong and China, and assesses how and why they were unable to actively construct and perform their preferred media identities, highlighting the blurring boundaries among traditional celebrities, micro-celebrities and ordinary people for their construction of online identities through social media, and also elucidating the opportunities and challenges posed by today’s evolving media environment. We argue that social media only superficially open up a site of counter-narratives for celebrities to resist the identities imposed on them by the mainstream media and online audiences. The interviewed celebrities' contradictory experiences in their self–presentations in social media, offer alternative angles to understanding the incoherent and unstable celebrity identity production processes, the blurring boundaries between celebrities and ordinary people through such processes, as well as the celebrities’ capacity to reclaim control in asserting their ‘true’ selves.
Proceedings Celebrity Studies Journal Conference, 2018
Diffused audiences sometimes, through their engagement with social media, connect with micro-celebrities in order to make sense of their world. While celebrities may have a paid staff of public relations experts at their beck and call, micro-celebrities have to manage their presence on social media with little or no assistance, which may subject them to the vagaries of their audiences. One of the ways in which audiences demonstrate this sense making process is through their responses to micro-celebrities that break with some social expectation, like micro-celebrities that “sell-out” to commercial interests. There is an expectation that micro-celebrities will present themselves in an authentic and sincere manner, which raises the bar for them and potentially makes their fall from grace steeper, potentially turning fans into haters. This critical analysis is based on case studies of micro-celebrity travelers who rely on social media channels to share their experiences sailing around the world. The study concludes that if the micro-celebrity “sells-out” disparagement may be contained within clusters of the micro-celebrity’s social network. As a micro-celebrity labors to maintain their authenticity and sincerity, there is a greater likelihood for understanding and perhaps forgiveness when the micro-celebrity crosses the proverbial line.
Celebrity Studies, 2019
2019
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
Twitter is a linguistic marketplace in which the processes of self-branding and micro-celebrity (Marwick, 2010) depend on visibility as a means of increasing social and economic gain. Hashtags are a potent resource within this system for promoting the visibility of a Twitter update (and, by implication, the update's author). This study analyses the frequency, types and grammatical context of hashtags which occurred in a dataset of approximately 92,000 tweets, taken from 100 publically available Twitter accounts, comparing the discourse styles of corporations, celebrity practitioners and 'ordinary' Twitter members. The results suggest that practices of self-branding and micro-celebrity operate on a continuum which reflects and reinforces the social and economic hierarchies which exist in offline contexts. Despite claims that hashtags are 'conversational', this study suggests that participatory culture in Twitter is not evenly distributed, and that the discourse of celebrity practitioners and corporations exhibits the synthetic personalization typical of mainstream media forms of broadcast talk.
With the advent of social media and increase in networked publics, context collapse has emerged as a critical topic in the discussion of imagined audiences and blurring of the private and the public. The meshing of social contexts portends problematic issues as messages inadvertently reach unimagined audiences causing shame and leading to loss of 'face'. In this article, we specifically study the impact of context collapse on some celebrities 'who had it all' yet, lost 'it some' to the world of networked public. The article examines celebrities sharing identity information across multiple contexts and explores situations of lost fame when 'face' is threatened, usage falters and breaks some of the well-established norms of interactivity. It concludes that lack of prudence in separating social contexts, loss of 'face' and social approval can dampen online celebrity presence. It proposes the use of 'polysemy' to simultaneously appeal to audiences from different contexts.
This study takes an empirical approach to analyze how journalists perform the roles of promoter, celebrity, and joker on social media. These roles already play out in print and broadcast, but much less is known about how they are performed outside of traditional media contexts. This study addresses this gap in the literature through a content analysis of 4,100 posts by 23 Chilean journalists in 2020 on Twitter and Instagram. The analysis draws on key variables derived from the literature, including frontstage and backstage performance, personal context, platform, follower count, gender, and type of parent media organization. Results suggest that Twitter tends to serve as a space for professional performance bounded by established norms and practices, while Instagram tends to offer a space for a more fluid performance beyond the institutional boundaries of the news media. Findings indicate that professional social media contexts are more suited spaces to perform the promoter role, while personal or backstage contexts are more suited for the celebrity and joker roles. Results indicate how journalists take on specific roles on Twitter and Instagram, considering the affordances of these platforms.
Media @LSE Working Papers, 2018
Cultural Politics: an International Journal, 2010
2018
In January 2015 there was a media-led fan campaign known by its hashtag #tay4hottest100 to vote Taylor Swift's track 'Shake it off' into the Hottest 100 music poll. The campaign developed and cascaded across multiple personal networks into a larger new media event. As a result of this the #tay4hottest100 campaign involved multiple publics that were separate because of fan-like investments in different social positions and the critical reflexivity afforded by these investments. A key gap exists in existing work in theories of publics, networks and new media events: what is the relation between the personalised action frame of participatory practice in 'connective action' and the reflexive circulation of discourse that characterises networked publics? There is a mediated relation here between two overlapping contexts: the personal action frame in networked connective action and the participatory action of discourse publics that draws on larger discursive formations to make sense of the present. This article argues there is an affective resonance, associated in this context with 'Taylor Swift' celebrity fandom, between the personalised action frames circulating in networked publics and the contextual affective contours of the broader new media event.
New Media & Society, 2010
This article explores how the celebrity discourse of the self both presages and works as a pedagogical tool for the burgeoning world of presentational media and its users that is now an elemental part of new media culture. What is often understood as social media via social network sites is also a form of presentation of the self and produces this new hybrid among the personal, interpersonal and the mediated -what I am calling 'presentational media'. Via Facebook, MySpace, Friendster and Twitter individuals engage in an expression of the self that, like the celebrity discourse of the self, is not entirely interpersonal in nature nor is it entirely highly mediated or representational. This middle ground of self-expression -again partially mediated and partially interpersonal (and theoretically drawing from Erving Goffman's work) -has produced an expansion of the intertextual zone that has been the bedrock of the celebrity industry for more than half a century and now is the very centre of the social media networks of the internet and mobile media. The article investigates this convergence of presentation of the self through a study of social network patterns of presentation of celebrities and the very overcoded similarity in the patterns of self-presentation of millions of users. It relates these forms of presentation to the longer discourse of the self that informed the production of celebrity for most of the last century.
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