When Craig, an oft-humiliated and unsuccessful street puppeteer, discovers a portal into the body of John Malkovich, he finds that fusion with a live “celebrity puppet” offers a solution to the dilemmas of being human— imperfection, vulnerability, and death. In this fantastical context, the filmmakers raise questions about intention, identity, authorship, and the wisdom of elevating narcissism over Eros. Although a desire to transcend the limitations of the mortal body may be ubiquitous, the unique solution offered in Being John Malkovich is the apparent triumph of this narcissistic fantasy, rather than an acceptance of reality. This article first explores the film's use of the universal imagery of narcissism and then examines how technology, which allows widespread access to a visually oriented media culture, and changes in the meaning of fame have altered the expression of narcissistic fantasies, as well as the anxieties that accompany their fulfillment.
Lissa Weinstein and Banu Seckin
Mobility and the Geographical Imaginaries of Interwar Australian Magazines
Victoria Kuttainen and Susann Liebich
celebrities. Looking at a sample issue of The Home in 1937 gives a good sense of the thematic dominance of travel within the gossip pages. The February 1937 issue devotes seven pages to social notes: of the one hundred and twenty individual “news” items
The article argues that the significance of the nineteenth-century comics character Ally Sloper cannot be understood without reference to the parallel career that this fictional celebrity developed across other media, most notably music hall. The history and evolution of the textual character, and of his various incarnations on stage and screen, are chronicled, with the aim both of documenting the expansion of working-class leisure culture and of demonstrating the centrality of Sloper to the development of a specifically British theatrical tradition that moved away from earlier continental models. Contemporary responses to Sloper, including moral outrage, are discussed, and the article concludes by analysing the skilled commercial exploitation of the character which would influence later practices in the twentieth and twenty-first centuries.
Graphic Constructions of the Carceral Archipelago
, the daily life of convicts and the customary aspects of carceral exoticism, such as the guillotine and the prisoner's desire for escape (known as la belle ). Gaston focuses on celebrity prisoners, highlighting accordingly the customary eclipsing of
the online world of Pénélope Bagieu, and the metafictional multimedia musings of Fabcaro, to cite but two quick examples of the multidirectional development of BD in 2019. While Bagieu has embraced mainstream celebrity culture, Fabcaro's more
Graphic Adaptation in Germany in the Context of High and Popular Culture
to objects but also to certain characters modelled after the appearance of celebrities. The president of the Parisian police, for example, bears a close resemblance to the French actor Gérard Depardieu. 57 The reference brings to mind the practice of
Ronald de Rooy
as a crusader, a Rambo war hero and a muscular fighting machine. The protagonist in Cannon’s graphic novel Heck is portrayed as a nostalgic former local sports celebrity going through a midlife crisis. Far removed from Dante’s academic and highbrow
Castelao in Galician Graphic Biography
, saintliness, idolatry and celebrity appear so frequently in literary biography that ‘biomythography’ is a more apposite term since it recognises the role of these aspects of myth-making. It encompasses the necessary invention of self and identity by the writer
Robert Benayoun on Comics and Roy Lichtenstein
Happenings transferred to what he saw as the showmanship or cult of celebrity that contaminated the studio practices of pop, where he believed artists sought to foreground their own personalities rather than create effective or lasting art. While Happenings
Hegemonic Boyhood Masculinity as Depicted in Boy’s Life Magazine, 1911–2012
Susan M. Alexander and Kelsey Collins
Hegemonic masculinity is a fluid concept that varies according to historical period and social and cultural location. While much has been written about hegemonic masculinity as experienced by adult men, research is lacking on hegemonic masculinity in boyhood from an historical perspective. Using a quantitative content analysis of images on the covers of Boy’s Life magazine, this study finds three distinct historically specific images of hegemonic American boyhood masculinity: boys who serve their country as patriotic scouts in uniform; boys who admire celebrities, particularly professional athletes; and a branded boyhood in which boys wear brand name products while engaging in sports activities.