You are not logged in.

Who is he now? The unearthly David Bowie

Cinque, Toija and Redmond, Sean 2013, Who is he now? The unearthly David Bowie, Celebrity studies journal, vol. 4, no. 3, pp. 377-379, doi: 10.1080/19392397.2013.831620.

Attached Files
Name Description MIMEType Size Downloads

Title Who is he now? The unearthly David Bowie
Author(s) Cinque, ToijaORCID iD for Cinque, Toija orcid.org/0000-0001-9845-3953
Redmond, SeanORCID iD for Redmond, Sean orcid.org/0000-0002-1460-8610
Journal name Celebrity studies journal
Volume number 4
Issue number 3
Start page 377
End page 379
Total pages 3
Publisher Routledge Taylor Francis
Place of publication London, Eng.
Publication date 2013-10-25
ISSN 1939-2397
1939-2400
Keyword(s) stardom
celebrity studies
celebrity culture
popular music
David Bowie
Summary The question that has led and organised this special edition on David Bowie draws provocative attention to the way his career has been narrated by the constant transformation and recasting of his star image. By asking who is he now? the edition recognises that Bowie is a chameleon figure, one who reinvents himself in and across the media and art platforms that he is found in. This process of renewal means that Bowie constantly kills himself, an artistic suicide that allows for dramatic event moments to populate his music, and for a rebirth to emerge at the same time or shortly after he expires. Bowie has killed Major Tom, Ziggy Stardust, Halloween Jack, Aladdin Sane, and the Thin White Duke to name but a few of his alter-egos. In this environment of death and resurrection, Bowie becomes a heightened, exaggerated enigma, a figure who constantly seems to be artificial or constructed and yet whose work asks us to look for his real self behind the mask – to ask the question, is this now the real Bowie that faces us? Of course, the answer is always no because Bowie is a contradictory constellation of images, stories and sounds whose star image rests on remaining an enigma, and like all stars in our midst, exists as a representation. Nonetheless, with Bowie - with this hyper- schizophrenic, confessional artist – the fan desire to get to know him, to immerse oneself in his worlds, fantasises, and projections - is particularly acute. With the unexpected release of The Next Day ((Iso/Columbia) on the 8th March 2013, the day of his 66th birthday, Bowie was resurrected again. The album and subsequent music videos drew explicitly on the question of who Bowie was and had been, creating a media frenzy around his past work, fan nostalgia for previous Bowie incarnations, and a pleasurable negotiation with his new output. In this special edition, edited by life-long Bowie fans, with contributions from die-hard Bowie aficionados, we seek to find him in the fragments and remains of what once was, and in the new enchantments of his latest work.
Language eng
DOI 10.1080/19392397.2013.831620
Field of Research 200104 - Media Studies
200199 - Communication and Media Studies not elsewhere classified
190499 - Performing Arts and Creative Writing not elsewhere classified
Socio Economic Objective 950105 - The Performing Arts (incl. Theatre and Dance)
HERDC Research category C1.1 Refereed article in a scholarly journal
ERA Research output type C Journal article
Copyright notice ©2013, Taylor & Francis
Persistent URL http://hdl.handle.net/10536/DRO/DU:30065647

Document type: Journal Article
Collection: School of Communication and Creative Arts
Connect to link resolver
 
Unless expressly stated otherwise, the copyright for items in DRO is owned by the author, with all rights reserved.

Versions
Version Filter Type
Citation counts: TR Web of Science Citation Count  Cited 0 times in TR Web of Science
Scopus Citation Count Cited 2 times in Scopus
Google Scholar Search Google Scholar
Access Statistics: 227 Abstract Views, 46 File Downloads  -  Detailed Statistics
Created: Fri, 12 Sep 2014, 14:06:22 EST by Toija Cinque

Every reasonable effort has been made to ensure that permission has been obtained for items included in DRO. If you believe that your rights have been infringed by this repository, please contact drosupport@deakin.edu.au.