ABSTRACT

Since the early 1990s, proto-punk rock musician Iggy Pop has regularly appeared onscreen in supporting and cameo roles. While a rock star’s presence across media is hardly novel, the brevity of Pop’s screen performances rests its meaning and value upon a rejection of conventional stardom, persisting through the peripheries of moving image media rather than building a marquee status. This article explains the economic and cultural logic of such appearances via the work of Pop’s manager, Art Collins, who focused on maintaining Pop’s status through a combination of decisively brief screen appearances and song licencing that augmented his existing persona. Using archival and textual analysis of Pop’s and Collins’s endeavours, I argue that Pop’s case lends insight into a managerial approach to stardom prevalent across entertainment media industries wherein stars are expected to maintain market presence across media contexts rather than pursue fame within a delimited cultural field. A growing managerial logic in entertainment media culture shifted the status of stars from workers contracted to autonomous industries to flexible labourers whose efforts are rendered in the service of self-branding. These developments made the cameo performance into an ideal labour strategy that maximises a star’s flexibility .

摘要

自 1990 年代初以来，原始朋克摇滚音乐家 Iggy Pop 经常以配角和客串角色出现在银幕上。虽然摇滚明星跨媒体出现并不新鲜，但 Pop 银幕表演的简洁性将其意义和价值建立在拒绝传统明星地位的基础上，坚持通过移动图像媒体的边缘而不是建立一个大帐篷地位。本文通过 Pop 经理阿特·柯林斯 (Art Collins) 的工作解释了此类出现的经济和文化逻辑，Art Collins 专注于通过果断短暂的银幕露面和增强其现有形象的歌曲许可相结合来维持 Pop 的地位。使用对波普和柯林斯努力的档案和文本分析，我认为 Pop 的案例有助于深入了解娱乐媒体行业普遍存在的明星管理方法，其中明星应该在媒体环境中保持市场存在，而不是在限定的文化领域内追求名声。娱乐媒体文化中越来越多的管理逻辑将明星的地位从承包到自主行业的工人转变为灵活的劳动者，他们的努力是为了自我品牌的服务。这些发展使客串表演成为一种理想的劳动力策略，可以最大限度地发挥明星的灵活性。娱乐媒体文化中越来越多的管理逻辑将明星的地位从承包到自主行业的工人转变为灵活的劳动者，他们的努力是为了自我品牌的服务。这些发展使客串表演成为一种理想的劳动力策略，可以最大限度地发挥明星的灵活性。娱乐媒体文化中越来越多的管理逻辑将明星的地位从承包到自主行业的工人转变为灵活的劳动者，他们的努力是为了自我品牌的服务。这些发展使客串表演成为一种理想的劳动力策略，可以最大限度地发挥明星的灵活性。