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Simon James Morgan

novels such as Benjamin Disraeli’s Sybil (1845) and Elizabeth Gaskell’s Mary Barton (1848). This chapter explores the media through which popular politicians entered the public consciousness way beyond their immediate followers and hero-worshippers. In the broader public sphere, individuals had far less control over how they were presented than they did in campaign newspapers such as the League or the Northern Star . Unlike the category of ‘hero’, which is implicitly value-laden and denotes an individual who is widely admired, the category of ‘celebrity’ also

in Celebrities, heroes and champions
Popular politicians in the age of reform, 1810–67

Celebrities, heroes and champions explores the role of the popular politician across a range of political movements and wider British and Irish society from the Napoleonic Wars to the Second Reform Act of 1867. Encompassing the parliamentary reform movements of Francis Burdett, Henry Hunt and the Chartists; Daniel O’Connell’s campaigns for Catholic Emancipation and Repeal of the Union; the transatlantic anti-slavery movement; and the Anti-Corn Law League, it offers a rare comparative perspective on the popular politics of the time. It examines the construction and dissemination of public reputations, as well as the impact of fame on those individuals and their dependents. Building on recent developments in the study of historical and contemporary fame, it argues that popular politicians were revered as heroes by their followers and became personally synonymous with both the aims and values of the causes they espoused. However, through the commercialisation of their images and the burgeoning markets for information and entertainment, they also became part of an international culture of celebrity, encapsulated by the rapturous receptions accorded to the romantic continental revolutionaries Lajos Kossuth and Giuseppe Garibaldi.

Mandy Merck

passed before Judith Williamson challenged Muggeridge by claiming that this celebrity melodrama could actually serve the Crown and the ideology of national unity that it represents. Writing just after the protracted strike that failed to halt the closure of Britain’s coal mines in 1984, Williamson observed that the pitmen’s wives sought the Queen’s support for their cause in the belief that she cared

in The British monarchy on screen
Felicity Chaplin

Despite the currency of the term, when applied to film stardom or celebrity ‘transmedia’ is not a new concept. Sarka Gmiterkova traces the origin of transmedia celebrity and stardom to the 1930s when a ‘carefully orchestrated’ star system first appeared: ‘Central to such scheme was a narrative dispersed across movies, promotion campaigns, and publicity, and which also influenced a portfolio of carefully selected products endorsed by the star’ (116). As Richard Dyer points out, all stars are essentially transmedia: ‘Star images are always extensive, multimedia

in Charlotte Gainsbourg
John Street, Sanna Inthorn, and Martin Scott

7 Young citizens and celebrity politicians If the last chapter was about how young people use popular culture to think about the ‘real world’ and the way it works, then this chapter is about those who are (or might be) charged with running it. The topic is the politician, and how young people – in their talk about popular culture – reflect upon what is required of a politician and who is equipped to deliver on this responsibility. In particular: do celebrities make good representative politicians? The idea of the celebrity politician, at least in the sense we

in From entertainment to citizenship
Corporations, Celebrities and the Construction of the Entrepreneurial Refugee Woman
Annika Bergman Rosamond and Catia Gregoratti

Introduction The promotion of female entrepreneurship in the global South has animated a great deal of feminist research on the World Bank, public-private partnerships and celebrity-endorsed initiatives. Hingeing on a ‘business case for gender equality’, it recasts the ‘Third World Woman’ ( Mohanty, 1984 ) as agentic and endlessly enterprising ( Wilson, 2011 ; Altan-Olcay, 2016 ; Roberts and Zulfiqar, 2019 ). Recent scholarship, however

Journal of Humanitarian Affairs
Michael Chaney and Jason Lindquist

‘The Gothic Aesthetics of Eminem’ examines key videos, lyrics, and performances of the white hip-hop celebrity, noting the reoccurrence of such Gothic tropes and narrational strategies as self-replication, the spectacle of monstrous proliferation, the spread of fakery and the counterfeit, as well as the abjection of women. The authors compare Stoker‘s Dracula to Eminem, whose cultural menace similarly functions to proselytise white young men into clones, refracting the racial and sexual anxieties of Stoker‘s novel. The article moves from a consideration of the rapper‘s songs and videos ‘My Name Is’, ‘The Real Slim Shady,’ and ‘Stan’ to the film, 8 Mile.

Gothic Studies
Open Access (free)
Róisín Read

contribute to this conversation by highlighting how celebrity and corporate humanitarian initiatives focus attention on women and girls in ways that not only reproduce neoliberal individualist logic but also reproduce harmful gendered and racialised humanitarian saviour/saved logics. By turning their attention to success stories of female empowerment in the humanitarian sector, Gregoratti and Bergman Rosamond use postcolonial feminist analysis to reconsider unintended consequences of particular

Journal of Humanitarian Affairs
Open Access (free)
Humanity and Solidarity
Tanja R. Müller and Róisín Read

Famine” Revisited: Band Aid and the Antipolitics of Celebrity Humanitarian Action ’, Disasters 37 : 1 , 61 – 79 . Read , R. ( 2016 ), ‘ Tensions in UN Information Management: Security, Data and Human Rights Monitoring in Darfur, Sudan ’, Journal of Human Rights Practice , 8 : 1

Journal of Humanitarian Affairs
Resilience and the Language of Compassion
Diego I. Meza

. Many of these interventions are activated so as not to undermine the government and economic model linked to this crisis. Other indicators of this change could be invoked; for example, the continual references to vulnerability, compassion, suffering, pity and charity indicates a moral shift in contemporary humanitarianism under neoliberalism. Likewise, the hegemony of ‘celebrity humanitarianism’ ( Chouliaraki, 2012 ; Kapoor, 2012 ) and ‘digital humanitarianism’ ( Duffield, 2016 ); implicit in both cases ‘is [the] conception of the theater as moral education, a space

Journal of Humanitarian Affairs