The Business of Being a Personality - Essay Example

Celebrity and Illusion Celebrity and Illusion: The Business of Being a Personality Celebrity and Illusion 2 Celebrity and Illusion: The Business of Being a Personality The identity of being a celebrity is a created fiction that is intended to sell a product. As the individual who is the object of this commercialization of their life must endure scrutiny and interference in their private affairs, the rewards are founded by the economic needs of the industry for which that individual seeks to work. Whether it is the ability to achieve the work desired, or the ability to accumulate the wealth that is available by way of sales due to celebrity, the identity of being a celebrity is rarely with the sole purpose of being scrutinized by society. While the public idolizes or criticizes the stories that they are told by the media, the product that is available for sale in association to the celebrity is given advertising that is associated with that individual. Celebrity is an economic status that drives an industry behind a brand and an identity. “The Familiar Stranger” As quoted from Todd Gitlin, in Understanding Celebrity by Graeme Turner, the celebrity is the “familiar stranger“. A celebrity is someone who has probably never been in the physical presence of a fraction of the people who know his or her name, yet the intimate details of that life is publicized for public consumption as though those details were as important as family and friends. The concept of publicity, both positive and negative creates a media image that defines someone by virtue of information that appears real and tangible, but is essentially no more real than the characterization in a book or in a movie. Stories told are creations of writers and photographers. The importance is not emphasizing truth, but maximizing sales, sometimes at the expense of Celebrity and Illusion 3 truth. Celebrity is not based on talent or professional achievement. In fact, “the modern celebrity may claim no special achievements other than the attraction of public attention” (Graeme, pg. 3). Celebrity status is achieved by the churning of public interest manufactured by media attention. Sometimes this attention is desired, and in other times the attention becomes a machine that cannot be stopped, destroying and re-creating with a will of its own. Who a celebrity is in private is not nearly relevant to the creation of the persona in public. This is the essence of celebrity - that it is created, either by will or momentum. One example of both doctrines being applied is the case of Angelina Jolie and Brad Pitt. When Brad Pitt was married to Jennifer Aniston and chose to leave her for his co-star of Mr. and Mrs. Smith, Angelina Jolie, a media storm that has yet to quell was unleashed. Their consequential love affair and the continuation of their lives has been the fodder of many magazines and talk shows. His infidelity and abandonment of his marriage was the first target of the situation, taking on a life and becoming a living organism within the public eye. This topic ran wild for some time, until publicity started to become a more controlled aspect of their lives. As they began to produce children and form a solid family with her adopted children and the children that they procreated, they began to do interviews, release family photos, and talk to the press under circumstances that are controlled by themselves and their representatives. Public opinion began to be swayed by their love story and the story of their family. In embracing the public image that is created from their careers and from their Celebrity and Illusion 4 scandalous relationship, the wheels now turn more in their favor than at their expense. This was accomplished, however, by doing an overwhelming amount of the appearance of good in their lives. That doesn’t mean that tabloids don’t run stories about how one is cold to the other, or it isn’t working out, or how Brad is constantly running back to Jennifer for comfort, etc. However, the public has many sides of the story from which to choose and evidence that comes directly from the two actors helps to turn the negative views of some people. When one pulls up a search engine on the internet and puts the names of the two examples into the search, approximately 53,300,000 results are achieved. In comparison, the author of this brings up about 475 results, few of which are actually relevant to that name, but are junk results. This abundance of attention has both positive and negative affects on the lives of those who gain celebrity. While on the one hand celebrity can give credentials to an individual and allow them to pursue career choices that might not otherwise be available to them should they not have such status, it can also limit the individual because of damage done to a reputation and status. However, from a cultural standpoint, the concept of celebrity has arisen as a commentary on the way in which society has begun to live. Authenticity has come into question as the culture has adopted the lives of those with public lives as the dream through which they live their own lives. In Graeme’s book, he quotes Daniel Boorstin as he comments on the very nature of fame. “A celebrity is a person who is well-known for their well-knownness.”. He goes on further to say that “Fabricated on purpose to satisfy our exaggerated expectations of human greatness. . . the celebrity develops their capacity Celebrity and Illusion 5 for fame, not by achieving great things, but by differentiating their own personality from those of their competitors in the public arena.” (Graeme, pg.5). The idea that this is a created persona to which the public responds is relevant to the proportional economic value that celebrity can achieve. Since the ’celebrity’ that can be achieved is a status that can be worked toward, it can therefore be controlled, to a certain extend, and profitability becomes relevant. “Is Elvis a god?” Image is everything for the celebrity. A good image has value, but a bad image can have as much value. However, the ultimate image is the one the becomes almost deified in its exaltation. John Frow, in his essay, ‘Elvis Fame: The Commodity Form and the Form of the Person” discusses the way in which celebrity has taken the place of religion in many aspects of society. As the worship of Elvis led to a mythological creation of his history, the answer to the question of whether or not his celebrity was a form of religion becomes its own conclusion. In the act of the very comparison, the mythological aspect is continues so therefore this worship of his celebrity, which is distinct from his achievements, can be considered religion. When a religion is created, it fulfills many needs within a group. That group looks for purpose and for meaning in life. As well, that group is looking for a sense of community. As Graeme states, “In effect, we are using celebrity as a means of constructing a new dimension of community through the media.” (Graeme, pg 6). Furthermore, much like prayer, the fan creates an intangible relationship. This comparison is not intended to diminish prayer, but it does show a correlation between the act of speaking with God, with whom a tangible connection must Celebrity and Illusion 6 be maintained by the will of faith, and the imaginary connection a fan, sometimes to the point of fanaticism and obsession, believes he can make with the object of his devotion. “The obsessed fan participates in imaginary relationships of intimacy with the celebrity. In extreme cases these relationships may be a substitute for the real relations of marriage, family and work.” (Rojek, pg. 51).With this kind of devotion, the economic potential has great power. The depth of the devotion of fans can lead to great financial rewards for those in the business of profiting off of celebrity. As society has become disconnected, the shear immensity of population overwhelming the communities until their numbers are swallowed by the isolation that comes from too many people to distinguish between, the concept of the celebrity provides an imaginary connection that is lacking. The term ‘para-social interaction’ is used to refer to relations of intimacy constructed through the mass-media, rather than direct experience and face-to-face meetings. This is a form of second-order intimacy, since it derives from representations of the person, rather than actual physical contact. Celebrities offer peculiarly powerful affirmations of belonging, recognition, and meaning in the midst of the lives of their audience, lives that may otherwise be poignantly experienced as under-performing, anti-climactic, or sub-clinically depressing. (Rojek, pg 52) With such powerful potential, the evolution of the celebrity figure has been a business venture with great rewards. The person who is the object of celebrity becomes a product, and when wisely managed, is packaged with the same careful attention to image in which any product must attain and be presented to the public. The concept of ‘branding’ is the fuel behind the fanatic response that is geared toward the creation of a celebrity commodity. In creating a celebrity brand, Michael Celebrity and Illusion 7 Levine States in his book, A Branded World: Adventures in Public Relations and the Creation of Superbrands, that “Any personality trait you detect is the result of the public relations planning and execution that is designed specifically to lead you to that conclusion.” (Levine, pg. 126). The way in which someone in public relations designs the personality of the celebrity that is being crucified or deified is much the way in which an advertising agency is creating a campaign for a product. It is all designed in order to sell to the consumer. One example used by Levine is that of Harrison Ford. Harrison Ford was cast as Indiana Jones and attained hero status by that role. During the era of the Star Wars epics, his past work as a carpenter, and the fact that he still engaged in that work even after his role as Han Solo, was a method of reinforcing his ‘rogue’ status as he was packaged to engage as anti-established movie star behavior by doing manual labor. However, years after his position in Hollywood had changed and he was firmly established as a movie star, surrounded by the heroic aspects of his characters, “he assisted in a rescue effort in the mountains near his home by flying his helicopter to spot lost or injured climbers.” which led to headlines that read “Indiana Jones Performs a Real-Life Rescue”. While according to Levine, this was not a planned event by his publicist, the press that followed was wide spread and Levine says, “his participation did receive considerable media attention, and his role as a heroic personality was cemented still further in the collective mind of the movie going public.” (Levine, pg. 126). The benefits for Ford and those who depend on him financially were substantial. Harrison Ford has been able to maintain a career playing in heroic roles well after his prime, even playing the role of Indiana Jones, Celebrity and Illusion 8 an action hero, in the 2008 Indiana Jones and the Crystal Skull, at the age of sixty-six. The Celebrity ‘Product’ The creation of celebrity is an example of slight of hand. While the public is looking in one direction, the public relations people are actually moving in another. If an individual tends to give poor interviews, then a mystery is created to surround that individual making them appear above that sort of self-promotion. One example of this would be the actor Keanu Reeves, who in his youth was very uncomfortable in interviews, and in order to prevent saying something inappropriate for his career, would refuse to do them and would give very short answers without much embellishment or conversation. However, it may be observed that as he has aged, he has learned how to speak about his work and can be seen far more frequently engaging in conversation with interviewers about his work and his life. With this example, it can be shown that the packaging of the celebrity must evolve in order to run parallel to the truths that underlie the actual identity of the individual. The relationship that a celebrity has with the public at the age of twenty is likely to be very different than the relationship developed at the age of forty. “The challenge. . . for the later, to identify how to generate long term sustainable value after the flush of celebrity fades.” (Clifton, pg 236). Although a physical commodity can sustain its identifiable presence for many decades, a celebrity brand must contend with age and what changes age will bring to the product. This creates the ’teen idol’ syndrome. For some, celebrity is fleeting due to interest that is focused solely on the attraction of the youth to the physicality of an Celebrity and Illusion 9 individual. Teen idols are transitional and packaged very specifically. “It is because of this transitional quality that teen idols are commodified in forms and images that are relatively non-threatening to this young audience and to the ancillary market of parents.” (Marshall, pg 169). These images are calculated to have instant, soaring appeal that flashes white hot and burns out quickly. These celebrities are usually very controlled and contained by their management. “The less autonomous and independent the star, the more he is structured purely as a teen idol.” (Marshall, pg 169). The analysis of their packaging by David Marshall in his book, Celebrity and Power: Fame in Contemporary Culture, goes on to say that “The male teen idol is over coded to have a baby face, on which the absence of facial hair is significant in its articulation of no masculinity. The Beatles’ bobbed hair, lack of seriousness, and clean, hairless faces when they became famous can be seen as once again a play with sexuality” (Marshall, pg 170). In the packaging of these idols, the essence of their own identity is muffled, which usually ends quickly. Some find success after they break from the package, others find a devastating loss of celebrity, which further diminishes their personal identity and creates a void that is irrevocably embedded in their personality. Business is Business Celebrity is created for many reasons, but the central reason is for use as a marketing tool. Celebrity sells by virtue of the attributes that are associated with the individual celebrity identity. While a component of the choice to actively seek publicity is the need for attention from the point of view of icon to audience, the true purpose of that kind of branding of an identity is to sell a product. A manager, an agent, a producer, Celebrity and Illusion 10 or any other kind of representation encourages and designs publicity for the sole purpose of sales. How the package is designed is dependent upon the audience that is trying to be reached. The determination of the identity of the consumer will determine the identity created for the celebrity. Part of the process of creating the right package takes place when the object of sale is designed. As the technology has created sources for multi-media presentations of a single work, the cross marketing is then applied to the celebrity personalities involved. In the instance of a movie, the DVD, the video games, the music, and so forth is all produced for the purpose of creating revenue. According to Graeme, “The celebrity, of course, is a very useful way of connecting these cross media processes.” he goes on to say that “What does seem new, however, is the importance of the celebrity as a branding mechanism for media products that has assisted their fluent transition across media formats and systems delivery.” (Graeme, pg. 34). The celebrity becomes the focus of different revenue streams and the connection that must be made by the consumer in order to encourage the purchase of additional items for the same product. One strong example of cross marketing form another angle is the celebrity that has been built up around Michael Jordan. In this instance, he is the focus of a diverse number of products that are supported by his fame. When he applies his name to a product, starting with the ticket sales for the Chicago Bulls, and moving to items such as Air Jordan’s, Hanes T-shirts, etc., the sales of those items increase by bearing his name. The audience targeted are those who are impressed with his skill, and the attributes that are associated with his character and his public persona. Celebrity and Illusion 11 According to Graeme, “Celebrities are created to make money.” (Graeme, pg. 34). This is the foundational truth of the cultural phenomenon of celebrity. The symbiotic nature of the celebrity, media executives, and audience relationships is layered with ties that are psychological and cultural. Knowing the whole truth of the economic situation diminishes the illusion that is cultivated by those in control of the media for those who are buying the product. The illusion of meaning beyond financial concerns is paramount for the continuation of the relationship with the consumers. While the act of being a celebrity may seem the objective for the individual who seeks fame, “From the celebrity’s point of view, their personal objective is most likely to be the construction of a viable career through the astute distribution and regulation of the sales of their celebrity commodity.” (Graeme, pg 35). Creating interest in the carefully created public personality of an individual creates a demand for product associated with that individual. The job that is done by the individual can be any that needs a public persona, from a politician, to a television star, from a famous restaurant chef, to the daughter of a billionaire. All of these positions require the fame to sell the product, except, perhaps for the daughter of a billionaire. Although, if she is seeking fame, she is probably endorsing products that she receives as ’gifts’, such as the shoes she wears that start selling like mad off of the shelf, to the club she attended last night that is suddenly packed. The plight of the ’accidental’ celebrity is one that can reap quick, though temporary rewards. One example put forth by Graeme is that of the butler for Princess Diana, Paul Burrell, who was thrust, briefly, into the spotlight and cashed in on that Celebrity and Illusion 12 sudden fame by selling his story to a newspaper. Another such public ‘character’ is that of ‘Joe the Plumber’, who during the American presidential election came into the public eye by virtue of a short interaction with then presidential candidate Barrack Obama. While his identity was a series of lies that he told to Obama during his brief discourse with him, the opposing candidate, John McCann made him into a celebrity by stating his moniker, ‘Joe the Plumber’ approximately twenty-two times during one of their debates. Suddenly, “Joe the Plumber’, who wasn’t a licensed plumber and didn’t make the salary that he was debating the tax increase about, was a celebrity. Suddenly, his character, his background, and his credibility was in the public eye. However, he did get to stand next to John McCain and show his support for a presidential candidate. Undoubtedly, he will sell his story as well. The value of his celebrity was the way in which McCain used his persona as an example. McCain created this mythical identity in order to sell a point. It was unsuccessful, but the attempt was clear. The illusion of what is real is perpetuated by the marked difference between advertising and publicity. Advertising is done with the sole purpose of selling a product without trying to pretend it exists for any other reason. Publicity is about telling a story. “This is especially damaging in this particular instance because the celebrity industries actively mask their own activities. By presenting publicity as news, by claiming to tell us what their charges are ‘really like’, by managing the production of ‘candid’ opportunities and so on, the celebrity industries work hard to naturalize their professional practices - or else to submerge their professional practices beneath those of another profession, such as journalism.” (Graeme, pg. 41). The subterfuge is that celebrities exist because the public Celebrity and Illusion 13 wants to know, but the truth is that they exist in order to sell products. So that they may practice their art, they submit to the scrutiny of the public to fund their lives and their endeavors. Those who don’t understand this are in danger of falling prey to the seduction of fame and losing perspective. How it all Adds Up A celebrity develops, or has developed for them, an identity that is solely for the purpose of selling the product of their work. The public persona is a story that is told that creates an image that has the proper weight and attributes to accomplish the goal intended. While this process is not completely a controllable process, it can be influenced and manipulated to the benefit of those who are economically motivated. Many victims are created in the industry of celebrity such as the accidental celebrity and the teen idol whose flame burns brightly and quickly. However, as society becomes larger and more disconnected from community, the need for less authentic connections will drive the need for celebrity interest which will allow for marketing of products through the use of individuals who hold a place in fame. When the consumer continually falls for the false idea that the personality and identity of the celebrity is portrayed through journalistic, as opposed to public relations, the opportunity to benefit financially from celebrity status will remain as the continuation of an illusion of intimacy feeds the needs that society is more and more failing to fulfill. Celebrity is about profit. Celebrity and Illusion 14 Resources Clifton, Rita, John Simmons, and Sameena Ahmad. (2004). Brands and Branding. The Economist Series. Princeton, NJ: Bloomberg Press. Frow, John. (1995). ‘Elvis Fame: The Commodity Form and the Form of the Person” Cardosa Studies in Law an Literature 7: 31-71. Levine, Michael. (2003). A Branded World: Adventures in Public Relations and the Creation of Superbrands. Hoboken, N.J.: J. Wiley Marshall, P. David. (1997). Celebrity and Power: Fame in Contemporary Culture. Minneapolis, MN: University of Minnesota Press. Rojek, Chris. (2001), Celebrity. Focus on Contemporary Issues. London: Reaktion Books. Turner, Graeme. (2004). Understanding Celebrity. London: SAGE. Read More