Advertisement

When Golden Globes and Stars Align: The Awards Show as a Platform for Cultural Criticism

  • Helle Kannik HaastrupEmail author
Chapter
  • 50 Downloads

Abstract

Using the 2018 Golden Globe Awards show as a case study, this chapter analyzes how a movie awards show can communicate cultural criticism. Awards shows are located in the “middle-zone of cultural evaluation” (English 2005), because they represent neither traditional cultural criticism nor the producers’ promotion and PR. This chapter aims to show that this Golden Globe Awards provided an alternative kind of cultural criticism, communicated via a live media event. Based on a framework combining theories of cultural criticism and analyses of live media events and studies of cultural awards and celebrity culture, the chapter demonstrates how the Golden Globe ceremony communicated cultural evaluation based on specific aesthetic criteria, through selection-as-evaluation, and by providing a cultural context for the artwork (Carroll 2009). The 2018 Golden Globe Awards show was colored by the Time’s Up activist action, giving the ceremony a political context and a focus on gender equality. Cultural criticism was expressed both in individual speeches and through the selection of the award-winning films and television series. The analysis of the 2018 Golden Globe Awards show thus contributes to our understanding of how different voices and genres, can produce an alternative kind of cultural criticism.

Keywords

Movie awards show Cultural criticism Time’s Up Golden Globe Awards Celebrity culture Live media event 

References

  1. Adam, G. (2011). Golden Globe Awards Tarnished by Allegations of Corruption. Retrieved from https://www.independent.co.uk/arts-entertainment/films/news/golden-globe-awards-tarnished-by-allegations-of-corruption-2185198.html.
  2. Atwood, M. (1985). The Handmaid’s Tale. Toronto, ON: McClelland & Stewart.Google Scholar
  3. Carroll, N. (2009). On Criticism. London: Routledge.CrossRefGoogle Scholar
  4. Collins, J. (2010). Bring on the Books for Everybody. How Literary Culture Became Popular Culture. Durham, NC and London: Duke University Press.CrossRefGoogle Scholar
  5. Dayan, D., & Katz, E. (1992). Media Events: The Live Broadcasting of History. Cambridge: Harvard University Press.Google Scholar
  6. Dern, L. (2018). https://www.instagram.com/p/BdqbKw4HyfF/. Accessed October 24, 2019.
  7. English, J. (2005). The Economy of Prestige: Prizes, Awards and the Circulation of Cultural Values. Harvard, MA: Harvard University Press.CrossRefGoogle Scholar
  8. Farrell, N. (Ed.). (2019). Introduction: “Getting Busy with the Fizzy”—Johansson, Soda Stream, and Oxfam: Exploring the Political Economics of Celebrity. In N. Farrell (Ed.), The Political Economy of Celebrity Activism. London: Routledge.Google Scholar
  9. Frey, M., & Sayad, C. (Eds.). (2015). Introduction: Film Criticism in a Digital Age. New Brunswick, NJ: Rutgers University Press.Google Scholar
  10. Ganetz, H. (2018). The Nobel Banquet Broadcast as Co-construction. Nordicom Review., 39(2), 111–126.CrossRefGoogle Scholar
  11. Gillespie, R. (2012). The Art of Criticism in the Age of Interactive Technology. International Journal of Communication, 6(12), 56–75.Google Scholar
  12. Golden Globe. (2019). Retrieved from https://www.goldenglobes.com/about-HFPA0.
  13. Golden Globe. (2020). Retrieved from https://en.wikipedia.org/wiki/Golden_Globe_Awards.
  14. Haastrup, H. K. (2008). One Re-Enchanted Evening: The Academy Awards as a Mediated Ritual within Celebrity Culture. Northern Lights: Film & Media Studies Yearbook, 6(1), 127–142.Google Scholar
  15. Haastrup, H. K. (2016). Framing the Oscars Live: Analysing Celebrity Culture and Cultural Intermediaries in the Live Broadcast of the Academy Awards on Danish Television. Celebrity Studies, 7(3), 412–418.CrossRefGoogle Scholar
  16. Kellner, D. (2003). Media Spectacle. London: Routledge.CrossRefGoogle Scholar
  17. Kidman, N. (@nicolekidman). 2018. Retrieved from https://www.youtube.com/watch?v=BsHx2dclkLE.
  18. Krieken, R. V. (2012). Celebrity Society. London: Routledge.CrossRefGoogle Scholar
  19. Levy, E. (2003). All About Oscar: The History and Politics of the Academy Awards. London & New York: Continuum.Google Scholar
  20. Lowenthal, L. (2006) [1961]. The Triumph of Mass Idols: The Celebrity Culture Reader. In P. D. Marshall (Ed.), The Celebrity Culture Reader (pp. 124–152). London: Routledge.Google Scholar
  21. McDonald, P. (2013). Hollywood Stardom. London: Wiley Blackwell.Google Scholar
  22. Marwick, A. E. (2015). Instafame: Luxury Selfies in the Attention Economy. Public Culture, 27 (1 (75)): 137–160.Google Scholar
  23. Moss, E. (@elizabethmossofficial). (2018). Retrieved from https://www.youtube.com/watch?v=eQAFwA7Xmzc.
  24. NBC. (2018). 75th Golden Globes. Retrieved from https://www.youtube.com/playlist?list=PLGj3_S-PJanPkgbY5jqxXIun783M_qY1u.
  25. Sheffield, R. (2016). Why Bob Dylan Deserves His Nobel Prize. Retrieved from RollingStone.com.
  26. Stacey, J. (1994). Star Gazing. Hollywood Cinema and Female Spectatorship. London: Routledge.Google Scholar
  27. Portman, N. (@natalieportman). 2018. Retrieved from https://www.instagram.com/p/BdqJzj5hCfh/.
  28. Rojek, C. (2001). Celebrity. London: Reaktion Books.Google Scholar
  29. Tatna, M. (2018). Meher Tatna’s Speech. Retrieved from https://www.facebook.com/watch/?v=1884514108257265.
  30. Time’s Up Now. (2019). Retrieved from https://www.timesupnow.com/about_times_up.
  31. Valck, M. D. (2007). Film Festivals: From European Geopolitics to Global Cinephelia. Amsterdam: Amsterdam University Press.CrossRefGoogle Scholar
  32. Yin, R. K. (2009). Case Study Research: Design and Methods. Cambridge: Sage.Google Scholar
  33. Wasko, J. (2003). How Hollywood Works. London: Sage.Google Scholar

Copyright information

© The Author(s) 2021

Authors and Affiliations

  1. 1.University of CopenhagenCopenhagenDenmark

Personalised recommendations