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Transcript

Fame as Visual Performance

”Lady Gaga is not simply a singer, she’s a performer.”

Who is Lady Gaga?

THE END

THANK YOU!

The success of her performance comes from her visually powerful and provocative packaging.

“You’re so entertaining, it’s like you’re not just a singer, you’re a show” – Ellen de Generes

“Gaga’s about faking fame and she doesn’t claim it to be genuine…That’s part of her goal: to demonstrate how powerful artificiality is” – Kate Durbin, editor

Music videos – one of the most effective means for the creation and popularization of a pop star.

Just Dance

Pastiche becomes Parody

Love Game

Bad Romance

Rise of the Fame Monster

Poker Face

Eh, Eh

Global Financial Crisis

She is the spectacle of excess. The overproduction of excess.

Unceasing desire for surplus value

Lady Gaga feeding on the desire of the audience

How do we approach the success of Lady Gagita’s parody?

If Lady Gaga embodies the overproduction of excess, Gagita embodies the excess of scarcity.

This is how Lady Gaga constructed herself as a spectacle. But how are we to understand the nature of her disturbing, yet strangely entertaining visual performance?

The ‘Telephone” parody

Who is Lady Gagita?

Telephone

Paparazzi

Beautiful, Dirty, Rich

Gagita as one of Gaga’s consumers

“Pastiche eclipses parody”

“Para sumikat, saka para maiahon ang pamilya ko sa hirap”

-Lady Gagita

Gagita’s parody is his way of buying into Lady Gaga’s pastiche.

Lady Gaga – Spectacle of Pastiche

“(Telephone) is a visual orgy of sex, violence and product placement”

Lady Gaga – Spectacle of Pastiche

Gaga’s music videos knowingly refer to and appropriate images and icons from the past.

Gaga’s strategy of excess means that she is only as good as her last performance.

Gaga = Overproduction of pastiche with Telephone as its best example

“She (Lady Gaga) patches together what she finds in the cultural image bank” – Guy Trebay of New York Times

Alejandro

You and I

 Edge of Glory

Judas

Born This Way

Marry The Night

THE FAME MONSTER: PASTICHE VERSUS PARODY IN THE CONTEXT OF SURPLUS ECONOMY

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