![Sample our Social Sciences journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/110822/TOC-Subject-Sample-2021-Social-Sciences.jpg"})
ABSTRACT
This article references David Bowie’s face as cultural capital in Diamond Dogs: a modernist ‘whole’ work comprised of Bowie’s rock musicality, literature, album cover, stage-show and performative mask. The paper interrogates Chris Rojek on religion and descent and Richard Dyer’s Stars on facial signage asking how celebrity discourse is inscribed within Dogs as anxiety about the artist’s face. The paper finds that Bowie’s fascination with facial desecration risks his celebritisation, yet cements his celebrification.
Disclosure statement
No potential conflict of interest was reported by the author.
Additional information
Notes on contributors
Ian Dixon
Ian Dixon With a PhD from The University of Melbourne (2011), Ian delivers academic addresses internationally including a plenary speech for CEA in USA (2013) and keynote address in India (2016). Recently, Ian won best paper at CMCS conference, University of Southern California. Ian has published internationally and is currently editing his book: I’m Not a Film Star: David Bowie as Actor. Funded to write feature films through Screen Australia and Film Victoria, Ian Dixon’s films have won awards internationally. He has directed television for Neighbours, Blue Heelers and SBS TV and his debut feature film Crushed screened at Cinema Nova in 2009. Ian’s directing credits also include Wee Jimmy (SBS TV—won director commendation at San Francisco International Film Festival, 2000), Interference, The Perimeter, The Raptor Detail and Cut (won Gold at Australian Cinematographers Society Awards).