Makeover TV: Selfhood, Citizenship, and Celebrity
In 2004, roughly 25 makeover-themed reality shows aired on U.S. television. By 2009, there were more than 250, from What Not to Wear and The Biggest Loser to Dog Whisperer and Pimp My Ride. In Makeover TV, Brenda R. Weber argues that whether depicting transformations of bodies, trucks, finances, rel...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Weitere Verfasser: | |
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2009]
|
| Schriftenreihe: | Console-ing passions: television and cultural power
|
| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UBG01 UPA01 FCO01 Volltext |
| Zusammenfassung: | In 2004, roughly 25 makeover-themed reality shows aired on U.S. television. By 2009, there were more than 250, from What Not to Wear and The Biggest Loser to Dog Whisperer and Pimp My Ride. In Makeover TV, Brenda R. Weber argues that whether depicting transformations of bodies, trucks, finances, relationships, kids, or homes, makeover shows posit a self achievable only in the transition from the "Before-body"-the overweight figure, the decrepit jalopy, the cluttered home-to the "After-body," one filled with confidence, coded with celebrity, and imbued with a renewed faith in the powers of meritocracy. The rationales and tactics invoked to achieve the After-body vary widely, from the patriotic to the market-based, and from talk therapy to feminist empowerment. The genre is unified by its contradictions: to uncover your "true self," you must be reinvented; to be empowered, you must surrender to experts; to be special, you must look and act like everyone else.Based on her analysis of more than 2,500 hours of makeover TV, Weber argues that the much-desired After-body speaks to and makes legible broader cultural narratives about selfhood, citizenship, celebrity, and Americanness. Although makeovers are directed at both male and female viewers, their gendered logic requires that feminized subjects submit to the controlling expertise wielded by authorities. The genre does not tolerate ambiguity. Conventional (middle-class, white, ethnically anonymous, heterosexual) femininity is the goal of makeovers for women. When subjects are male, makeovers often compensate for perceived challenges to masculine independence by offering men narrative options for resistance or control. Foregoing a binary model of power and subjugation, Weber provides an account of makeover television that is as appreciative as it is critical. She reveals the makeover show as a rich and complicated text that expresses cultural desires and fears through narratives of selfhood |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) |
| Beschreibung: | 1 online resource (337 pages) 24 illustrations |
| ISBN: | 9780822391234 |
| DOI: | 10.1515/9780822391234 |
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| 520 | |a In 2004, roughly 25 makeover-themed reality shows aired on U.S. television. By 2009, there were more than 250, from What Not to Wear and The Biggest Loser to Dog Whisperer and Pimp My Ride. In Makeover TV, Brenda R. Weber argues that whether depicting transformations of bodies, trucks, finances, relationships, kids, or homes, makeover shows posit a self achievable only in the transition from the "Before-body"-the overweight figure, the decrepit jalopy, the cluttered home-to the "After-body," one filled with confidence, coded with celebrity, and imbued with a renewed faith in the powers of meritocracy. The rationales and tactics invoked to achieve the After-body vary widely, from the patriotic to the market-based, and from talk therapy to feminist empowerment. The genre is unified by its contradictions: to uncover your "true self," you must be reinvented; to be empowered, you must surrender to experts; to be special, you must look and act like everyone else.Based on her analysis of more than 2,500 hours of makeover TV, Weber argues that the much-desired After-body speaks to and makes legible broader cultural narratives about selfhood, citizenship, celebrity, and Americanness. Although makeovers are directed at both male and female viewers, their gendered logic requires that feminized subjects submit to the controlling expertise wielded by authorities. The genre does not tolerate ambiguity. Conventional (middle-class, white, ethnically anonymous, heterosexual) femininity is the goal of makeovers for women. When subjects are male, makeovers often compensate for perceived challenges to masculine independence by offering men narrative options for resistance or control. Foregoing a binary model of power and subjugation, Weber provides an account of makeover television that is as appreciative as it is critical. She reveals the makeover show as a rich and complicated text that expresses cultural desires and fears through narratives of selfhood | ||
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| indexdate | 2024-07-10T09:01:08Z |
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| isbn | 9780822391234 |
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| series2 | Console-ing passions: television and cultural power |
| spelling | Weber, Brenda R. Verfasser aut Makeover TV Selfhood, Citizenship, and Celebrity Brenda R. Weber; Lynn Spigel Durham Duke University Press [2009] © 2009 1 online resource (337 pages) 24 illustrations txt rdacontent c rdamedia cr rdacarrier Console-ing passions: television and cultural power Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) In 2004, roughly 25 makeover-themed reality shows aired on U.S. television. By 2009, there were more than 250, from What Not to Wear and The Biggest Loser to Dog Whisperer and Pimp My Ride. In Makeover TV, Brenda R. Weber argues that whether depicting transformations of bodies, trucks, finances, relationships, kids, or homes, makeover shows posit a self achievable only in the transition from the "Before-body"-the overweight figure, the decrepit jalopy, the cluttered home-to the "After-body," one filled with confidence, coded with celebrity, and imbued with a renewed faith in the powers of meritocracy. The rationales and tactics invoked to achieve the After-body vary widely, from the patriotic to the market-based, and from talk therapy to feminist empowerment. The genre is unified by its contradictions: to uncover your "true self," you must be reinvented; to be empowered, you must surrender to experts; to be special, you must look and act like everyone else.Based on her analysis of more than 2,500 hours of makeover TV, Weber argues that the much-desired After-body speaks to and makes legible broader cultural narratives about selfhood, citizenship, celebrity, and Americanness. Although makeovers are directed at both male and female viewers, their gendered logic requires that feminized subjects submit to the controlling expertise wielded by authorities. The genre does not tolerate ambiguity. Conventional (middle-class, white, ethnically anonymous, heterosexual) femininity is the goal of makeovers for women. When subjects are male, makeovers often compensate for perceived challenges to masculine independence by offering men narrative options for resistance or control. Foregoing a binary model of power and subjugation, Weber provides an account of makeover television that is as appreciative as it is critical. She reveals the makeover show as a rich and complicated text that expresses cultural desires and fears through narratives of selfhood In English PERFORMING ARTS / Television / History & Criticism bisacsh Makeover television programs Social aspects United States Makeover television programs United States Self-perception Social aspects United States Self-realization Social aspects United States Television Social aspects United States Spigel, Lynn edt https://doi.org/10.1515/9780822391234 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Weber, Brenda R. Makeover TV Selfhood, Citizenship, and Celebrity PERFORMING ARTS / Television / History & Criticism bisacsh Makeover television programs Social aspects United States Makeover television programs United States Self-perception Social aspects United States Self-realization Social aspects United States Television Social aspects United States |
| title | Makeover TV Selfhood, Citizenship, and Celebrity |
| title_auth | Makeover TV Selfhood, Citizenship, and Celebrity |
| title_exact_search | Makeover TV Selfhood, Citizenship, and Celebrity |
| title_exact_search_txtP | Makeover TV Selfhood, Citizenship, and Celebrity |
| title_full | Makeover TV Selfhood, Citizenship, and Celebrity Brenda R. Weber; Lynn Spigel |
| title_fullStr | Makeover TV Selfhood, Citizenship, and Celebrity Brenda R. Weber; Lynn Spigel |
| title_full_unstemmed | Makeover TV Selfhood, Citizenship, and Celebrity Brenda R. Weber; Lynn Spigel |
| title_short | Makeover TV |
| title_sort | makeover tv selfhood citizenship and celebrity |
| title_sub | Selfhood, Citizenship, and Celebrity |
| topic | PERFORMING ARTS / Television / History & Criticism bisacsh Makeover television programs Social aspects United States Makeover television programs United States Self-perception Social aspects United States Self-realization Social aspects United States Television Social aspects United States |
| topic_facet | PERFORMING ARTS / Television / History & Criticism Makeover television programs Social aspects United States Makeover television programs United States Self-perception Social aspects United States Self-realization Social aspects United States Television Social aspects United States |
| url | https://doi.org/10.1515/9780822391234 |
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