When it comes to DIY celebrities, one has to do some major work at the course of a sophisticated way, full of all the scopes and intricacies of the celebrity industry so that he gets buoyant at keeping the further development of fame. Indeed, from an analysis of celebrity practice at Twitter by Alice Marwick and Danah Boyd, several key insights arise about rhythms and rules in the context of celebrity culture in an age of social media. With that said, on the strength of our analysis, I would rather just engage with the celebrity industry strategically, using platforms like Twitter affordances to engender some kind of intimacy and authenticity with their audiences.
They derive the important point from the visit misunderstood celebrity presence on Twitter (VATANARTIRAN, 2020). Marwick and Boyd credit Twitter as one of the platforms upon actors’ people’s celebrity is played, the multiplicity of public persona, and the negotiation of personal authenticity. Here, a theory by Erving Goffman on front and backstage interaction is particularly fitting; it is a premise claiming celebrities have to tread online with careful curation of their bodies between intimacy and the management of image.
In this respect, I will use Twitter as an unmitigated device through which one can construct an intimate relationship with his followers while gently shaping his public face. I would share personal stories, provide special content, and talk directly to the fans themselves. I would like to establish a real intimacy and a sense of genuineness. It also again ascribes to the earlier findings of Marwick and Boyd, where larger influencers normally perform an intimacy that differs in levels, and some value more conventional and personal story performance above the prevalence of promotional material.
On the other hand, such exposure of one’s existence in the industry altogether is made possible by their ‘existence’ itself in the middle. In my instance, if it were me inserting myself on occasions such as talking to Perez Hilton or group discussion such as Oh No They Didn’t by adding another discussion about me, I would be able to maintain my buzz and escape the otherwise continuously changing state of interest. To the point that they had previously never contemplated the nature of Internet gossip sites — unsuspecting spaces for discussions of celebrities operating only outside traditional media channels — authors open up opportunities for DIY celebrity work.
It is only useful, however, to realize that pitfalls come with celebrities, mainly in the misleading reality of intimate reality created through confessional talk shows and celebrity magazine interviews (Yelin,2020). Even though much of the interaction on Twitter creates a sense of this, there is the need to be guarded and require authenticity for the idol to be the idol. This is only worsened by Miley Cyrus’s case of imitating intimate interactions with other celebrities, which only highlights the artificial nature of these relations, which could just be for positive manipulation of public image rather than bona fide relations.
As a DIY star, one just has to learn to navigate these very fine intricacies and strategic discourses of the industry by walking on the tightrope of authenticity, strategic self-disclosure, and liaising with agents. While access to such platforms, therefore, allows me to develop a strong sense of intimacy with my audience and build on a presence in the industry, the nature of the celebrity performance culture and the notion of creating illusory intimacy have, against all odds, been kept at the back of my mind.
In conclusion, the strategic engagement by DIY celebrities in the machinery of the celebrity industry while capitalizing on the affordances of social media platforms for negotiations of the complexities of fame, intimacy with followers, and molding one’s story in the changing political economy of celebrity culture has since been a vogue in strategic engagement by DIY celebrities.
References
VATANARTIRAN, O. (2020). Celebrity social media accounts as public diplomacy tools. Uluslararası Halkla İlişkiler ve Reklam Çalışmaları Dergisi, 3(1), 142-156.https://dergipark.org.tr/en/pub/hire/issue/53751/60053
Yelin, H. (2020). Celebrity memoir: From ghostwriting to gender politics. Springer Nature.https://link.springer.com/content/pdf/10.1007/978-3-030-44621-5.pdf
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