Titlebook: Celebrity and the Feminist Blockbuster; Anthea Taylor Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 celebrity feminism.po

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Luciane R. Cavalli,Iglenir J. Cavalliies publicly claiming a feminist identity. Engaging with debates about the ‘democratization’ of celebrity, including through ‘micro’-celebrities, she also addresses the role of new media in helping to shape the kinds of feminisms that come to be publicly available. Taylor argues that, despite these

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Anthea TaylorFirst book to be published on celebrity feminism.Covers more than 50 years, mapping changes in the relationship between feminism and the media.Addresses both the possibilities and the limitations of c

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饒舌的人

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978-1-349-67699-6The Editor(s) (if applicable) and The Author(s) 2016

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Introduction,d marketing, of ‘media stars’ was, as Martha Shelley’s comments suggest, believed to be thoroughly inconsistent with the goals and anti-hierarchical principles of second wave feminism: ‘These media stars, carefully coiffed and lathered with foundation makeup, claim to represent all women. In actuali

Introduction

,‘Blockbuster’ Feminism and Celebrification,ds that there are key differences between the fame embodied by blockbuster celebrity feminists and other types of stars. Engaging with previous feminist scholarship on the relationship between feminism and celebrity culture, much of which sees the celebrity feminist as an anxiety-provoking figure, T

AWL

Helen Gurley Brown: Prototypical Celebrity Feminism, Cultural Intermediaries, and Agencyempts to recuperate Brown, this chapter positions . (1962) and its flamboyant author within a wider tradition of popular, and especially celebrity, feminism. In this chapter Taylor argues that Brown represents one of the earliest examples of modern blockbuster celebrity feminism, with letters from h

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