The drama of politics: Ellen Watts to present at PSA 2019, Nottingham

Recent NewPolCom PhD and current Teaching Fellow Dr. Ellen Watts is presenting at the Political Studies Association (PSA) annual conference on 15 April 2019 in Nottingham. She is part of a brilliant panel organised by the PSA’s Media & Politics Group (MPG) called The drama of politics, featuring Dr. Katy Parry and Dr. Beth Johnson (Leeds) as well as Prof. Kay Richardson (Liverpool). Ellen’s paper is on Celebrities as Political Representatives - you’ll find her abstract below.

Panel - The drama of politics 

This panel considers the intersections of politics and drama, exploring both the portrayal of politics on screen and the activism of actors off screen. We consider both the manner in which formal politics is represented in television drama through the fictionalised work of politicians and the way in which actors use their celebrity to fight for social and political change through varied political channels. Building on scholarship which argues that popular culture provides valuable spaces through which to examine political values and tensions (Corner & Richardson, 2008; van Zoonen & Wring, 2012), this panel looks at how interventions on and off screen potentially shape understandings of politics in the UK.

Ellen Watts - Celebrities as Political Representatives: Capital, Credibility, and Continuity

The ability of celebrities to become influential political actors is evident, but the process enabling this is not. While Driessens (2013) proposes conceptualising celebrity as a form of capital, it remains unclear how celebrities obtain political recognition. I argue that a return to the question of whether and how celebrities act as ‘legitimate’ political representatives is needed to address this (Street, 2004). Building on Driessens’ concept of celebrity capital, I argue that the ability of celebrities to exchange this for political capital is contingent on their claims to represent others (Saward, 2010). In this paper I take Emma Watson as a case study to explore how this process works in practice, drawing on ethnography of her online feminist book group Our Shared Shelf. I show how Watson uses her resources – including her large social media followings – to perform three types of claim to represent feminists. Through interviews with Our Shared Shelf members I explore why Watson is accepted as a representative - affording her political capital - by those who are not predominantly her ‘fans’. This demonstrates the interconnection between celebrity, politics, and representation; Watson is accepted as a legitimate political actor due to her ‘reach’, afforded by her social media platforms and ability to attract media attention. However Watson’s case also demonstrates that while celebrities can bring meaningful political change, their evaluation according to political and cultural hierarchies is more broadly indicative of continuity. Watson is accepted as a political representative not because she is a celebrity, but because she is ‘not like other celebrities’. These comparisons are based on Watson’s ‘connection’ to formal politics through her role as a UN Women Goodwill Ambassador (Saward, 2010), class-based assessments of her ‘appropriate’ behaviour, and her consistent self-presentation across fields and platforms. These resources enable Watson to negotiate what I argue is a ‘paradox of self-promotion’ in celebrity politics, whereby celebrities must attract attention to be accepted as credible representatives while avoiding accusations of ‘attention seeking’.

 

Congratulations to Dr. Simon Collister!

Congratulations to Dr. Simon Collister, whose PhD revisions have been approved following his viva last year. Details of his PhD are below. His examiners were Lee Edwards (LSE) and David Berry (Sussex). Simon was supervised by Prof. Andrew Chadwick. 

Towards a Theory of Media Power in a Networked Communication Environment: Case Studies of #Demo2012, Adidas, and #AskSnowden

This thesis contributes to the debate about media power by advancing a new theoretical perspective. I critique existing theories of media power and argue that media power as it operates in today’s complex media environment can be understood as being based on interactions between the culturally and communicatively symbolic components of media communication and the material features and processes of media through which such symbolic communication occurs. I develop and apply an analytical model capable of spanning these two domains and their complex qualities. To develop the model I adopt a neo-materialist ontology based on Deleuze and Guattari’s notion of rhizomatic assemblages, Hertog and McLeod’s multi-perspectival frame analysis and DeLanda’s theory of the assemblage. I argue that this approach can capture both the symbolic and the material dimensions of media that function through networked, complex and emergent interactions. My analytical model is based on four pillars: hybridity, materiality, choreography and coding. I used the model to guide my empirical fieldwork investigation of three case studies: a public demonstration, an animal rights protest aimed at undermining a well-known brand and the high-profile leaks by NSA whistleblower Edward Snowden in 2013. Ethnography, content analysis and interview data were used to assess my model’s suitability for making sense of these three cases. Finally, in the conclusion I propose four future themes that this thesis reveals are significant for research on media power: the importance of institutional adaptation, the role of emotion and affect, the significance of computation and the materiality of technology.