Trainwreck femininity and Whitney: monstrous feminine redux

Article

Hopkins, Susan. 2020. "Trainwreck femininity and Whitney: monstrous feminine redux." Celebrity Studies. 11 (1), pp. 153-156. https://doi.org/10.1080/19392397.2020.1704477
Article Title

Trainwreck femininity and Whitney: monstrous feminine redux

ERA Journal ID124309
Article CategoryArticle
Authors
AuthorHopkins, Susan
Journal TitleCelebrity Studies
Journal Citation11 (1), pp. 153-156
Number of Pages4
Year2020
PublisherTaylor & Francis
Place of PublicationUnited Kingdom
ISSN1939-2397
1939-2400
Digital Object Identifier (DOI)https://doi.org/10.1080/19392397.2020.1704477
Web Address (URL)https://www.tandfonline.com/doi/full/10.1080/19392397.2020.1704477
Abstract

As a woman who is both loved and hated, revered and reviled, the celebrity trainwreck can be read as a powerful and creative model of subversion. That is not how Whitney’s Houston’s life story is framed, however, in film director Kevin Macdonald’s 2018 documentary Whitney. Rather, Macdonald’s film seems to be the latest in a popular line of ‘fallen woman’ trainwreck biopics, which undermine the agency of female performers and ultimately offer conservative treatments of gender, race and idealised femininity. I include in this genre Asif Kapadia’s award-winning documentary on Amy Winehouse, Amy (2015) and the Brett Morgen take on Courtney Love in the critically acclaimed Cobain: Montage of Heck (2015). Even less flattering are portraits presented by Nick Broomfield in Kurt and Courtney (1998). What these films seem to share is a (re)construction of the public self of a female celebrity through a montage of ‘insider’ accounts and interviews imbued with gendered ‘trainwreck’ mythology.

Keywordstrainwreck femininity, train wreck femininity, monstrous feminine, celebrities
ANZSRC Field of Research 2020440599. Gender studies not elsewhere classified
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Byline AffiliationsOpen Access College
Institution of OriginUniversity of Southern Queensland
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