How celebrity strategic partnerships are disrupting humanitarian space
Can a celebrity be a “disrupter,” promoting strategic partnerships to bring new ideas and funding to revitalize the development field—or are celebrities just charismatic ambassadors for big business? Examining the role of the rich and famous in development and humanitarianism, Batman Saves the Congo argues that celebrities do both, and that understanding why and how yields insight into the realities of neoliberal development.
In 2010, entertainer Ben Affleck, known for his superhero performance as Batman, launched the Eastern Congo Initiative to bring a new approach to the region’s development. This case study is central to Batman Saves the Congo. Affleck’s organization operates with special access, diversified funding, and significant support of elites within political, philanthropic, development, and humanitarian circuits. This sets it apart from other development organizations. With his convening power, Affleck has built partnerships with those inside and outside development, staking bipartisan political ground that is neither charity nor aid but “good business.” Such visible and recognizable celebrity humanitarians are occupying the public domain yet not engaging meaningfully with any public, argues Batman Saves the Congo. They are an unruly bunch of new players in development who amplify business solutions.
As elite political participants, celebrities shape development practices through strategic partnerships that are both an innovative way to raise awareness and funding for neglected causes and a troubling trend of unaccountable elite leadership in North–South relations. Batman Saves the Congo helps illuminate the power of celebritized business solutions and the development contexts they create.
The phenomenon of celebrity burst upon the world scene about a century ago, as movies and modern media brought exceptional, larger-than-life personalities before the masses. During the same era, modernist authors were creating works that defined high culture in our society and set aesthetics apart from the middle- and low-brow culture in which celebrity supposedly resides. To challenge this ingrained dichotomy between modernism and celebrity, Jonathan Goldman offers a provocative new reading of early twentieth-century culture and the formal experiments that constitute modernist literature's unmistakable legacy. He argues that the literary innovations of the modernists are indeed best understood as a participant in the popular phenomenon of celebrity.
Presenting a persuasive argument as well as a chronicle of modernism's and celebrity's shared history, Modernism Is the Literature of Celebrity begins by unraveling the uncanny syncretism between Oscar Wilde's writings and his public life. Goldman explains that Wilde, in shaping his instantly identifiable public image, provided a model for both literary and celebrity cultures in the decades that followed. In subsequent chapters, Goldman traces this lineage through two luminaries of the modernist canon, James Joyce and Gertrude Stein, before turning to the cinema of mega-star Charlie Chaplin. He investigates how celebrity and modernism intertwine in the work of two less obvious modernist subjects, Jean Rhys and John Dos Passos. Turning previous criticism on its head, Goldman demonstrates that the authorial self-fashioning particular to modernism and generated by modernist technique helps create celebrity as we now know it.
The essays in Public Affairs reflect on a number of sex scandals while emphasizing the Clinton/Lewinsky affair, certainly the most avidly followed and momentous sex scandal in American political history. Leading scholars situate contemporary public affairs in the context not only of earlier sex scandals in American politics (such as Thomas Jefferson’s and Sally Hemings’s affair), but also of more purely political scandals (including Teapot Dome and Watergate) and sex scandals centered around public figures other than politicians (such as the actor Hugh Grant and the minister Jimmy Swaggart). Some essays consider the Clinton affair in light of feminist and anti-racist politics, while others discuss the dynamics of scandals as major media events. By charting a critical path through the muck of scandal rather than around it, Public Affairs illuminates why sex scandals have become such a prominent feature of American public life.
Contributors. Paul Apostolidis, Jodi Dean, Joshua Gamson, Theodore J. Lowi, Joshua D. Rothman, George Shulman, Anna Marie Smith, Jeremy Varon, Juliet A. Williams
In Seeing Stars, Dennis J. Frost traces the emergence and evolution of sports celebrity in Japan from the seventeenth through the twenty-first centuries. Frost explores how various constituencies have repeatedly molded and deployed representations of individual athletes, revealing that sports stars are socially constructed phenomena, the products of both particular historical moments and broader discourses of celebrity.
Drawing from media coverage, biographies, literary works, athletes’ memoirs, bureaucratic memoranda, interviews, and films, Frost argues that the largely unquestioned mass of information about sports stars not only reflects, but also shapes society and body culture. He examines the lives and times of star athletes—including sumo grand champion Hitachiyama, female Olympic medalist Hitomi Kinue, legendary pitcher Sawamura Eiji, and world champion boxer Gushiken Yokoō—demonstrating how representations of such sports stars mediated Japan’s emergence into the putatively universal realm of sports, unsettled orthodox notions of gender, facilitated wartime mobilization of physically fit men and women, and masked lingering inequalities in postwar Japanese society.
As the first critical examination of the history of sports celebrity outside a Euro-American context, this book also sheds new light on the transnational forces at play in the production and impact of celebrity images and dispels misconceptions that sports stars in the non-West are mere imitations of their Western counterparts.
Anaïs Nin, the diarist, novelist, and provocateur, occupied a singular space in twentieth-century culture, not only as a literary figure and voice of female sexual liberation but as a celebrity and symbol of shifting social mores in postwar America. Before Madonna and her many imitators, there was Nin; yet, until now, there has been no major study of Nin as a celebrity figure.
In Writing an Icon, Anita Jarczok reveals how Nin carefully crafted her literary and public personae, which she rewrote and restyled to suit her needs and desires. When the first volume of her diary was published in 1966, Nin became a celebrity, notorious beyond the artistic and literary circles in which she previously had operated. Jarczok examines the ways in which the American media appropriated and deconstructed Nin and analyzes the influence of Nin’s guiding hand in their construction of her public persona.
The key to understanding Nin’s celebrity in its shifting forms, Jarczok contends, is the Diary itself, the principal vehicle through which her image has been mediated. Combining the perspectives of narrative and cultural studies, Jarczok traces the trajectory of Nin’s celebrity, the reception of her writings. The result is an innovative investigation of the dynamic relationships of Nin’s writing, identity, public image, and consumer culture.
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