2,790
Views
6
CrossRef citations to date
0
Altmetric
Articles

How to get away with authenticity: Viola Davis and the intersections of Blackness, naturalness, femininity and relatability

ORCID Icon

References

  • Arzumanova, I., 2016. The culture industry and Beyoncé’s proprietary blackness. Celebrity studies, 7 (3), 421–424.
  • Banks, I., 2000. Hair matters: beauty, power, and black women’s consciousness. New York: New York University Press.
  • Biressi, A. and Nunn, H., 2002. The especially remarkable: celebrity and social mobility in reality TV. Mediactive, 12, 44–58. Celebrity Issue.
  • Campbell, D., 7 March 2016. Viola Davis speaks out on societal pressures and black girls’ hair. Essence [online]. Available from: http://www.essence.com/2016/03/07/why-viola-davis-frustrated-societys-view-black-girls-hair [Accessed 3 October 2016].
  • Carter, K.L., 2014. Nothing else mattered after that wig came off [online]. Buzzfeed, October 17. Available from: https://www.buzzfeed.com/kelleylcarter/the-wig-came-off-on-how-to-get-away-with-murder?utm_term=.hrZ2r2BxR1#.ypVZ1ZegjY [Accessed 15 September 2016].
  • Cobb, S., 2011. “I’m nothing like you!” postfeminist generationalism and female stardom in the contemporary chick flick. In: M. Waters, ed. Women on screen: feminism and femininity in visual culture. London: Palgrave Macmillan, 31–44.
  • Cook, P., 2015. Because she’s worth it: the natural blonde from Grace Kelly to Nicole Kidman. Celebrity studies, 7 (1), 6–20.
  • Dagbovie-Mullins, S.A., 2013. Crossing b(l)ack: mixed-race identity in modern American fiction and culture. Tennessee: The University of Tennessee Press.
  • DavisNet, 30 October 2014. How to get away with murder Star Viola Davis explains why Annalise Keating’s wig had to come of. DavisNet [online].. Available from: http://www.violadavis.net/page/50/ [Accessed 8 December 2017].
  • Del Guadalupe Davidson, M., 2017. Black women, agency, and the new black feminism. New York: Routledge.
  • Django Unchained, 2012. Film. Directed by Quentin Tarantino. United States: A Band Apart and Columbia Pictures.
  • Dyer, R., 1991. A star is born and the construction of authenticity. In: C. Gledhill, ed. Stardom: industry of desire. London: Routledge, 132–141.
  • Dyer, R., 2004. Heavenly bodies: film stars and society. Oxon: Psychology Press.
  • Dyer, R., 2005. The matter of whiteness. In: P. Rothenberg, ed. White privilege: essential readings on the other side of racism. New York: Worth Publishers. 9–14.
  • Emejulu, A., and Sobande, F. 2019. To exist is to resist: black feminism in Europe. London: Pluto Press.
  • Erigha, M., 2015. Shonda Rhimes, Scandal, and the politics of crossing over. The Black scholar: journal of Black studies and research, 45 (1), 10–15.
  • Fairclough, K., 2015. Beyoncé: performing female empowerment in the arena concert. In: R. Edgar, et al., eds. The arena concert: music, media and mass entertainment. New York: Bloomsbury, 279–290.
  • Family Guy, 1999-present. TV. United States: 20th Century Fox.
  • Fleetwood, N.R., 2015. On racial icons: blackness and the public imagination. New Brunswick, NJ: Rutgers University Press.
  • Get Christie Love!, 1974–1975. TV. Universal City, CA: Universal Television.
  • Gordon, D., 2015, Viola Davis wouldn’t have played Annalise Keating if her wig didn’t come off. Vulture. [online], 30 May. Available from: http://www.vulture.com/2015/05/viola-davis-came-up-with-htgawms-wig-scene.html [Accessed 7 October 2016].
  • Hamad, H., 2013. Postfeminism and paternity in contemporary US film: framing fatherhood. New York: Routledge.
  • Hamilton, N.T., 2014. So they say you have a race problem? You’re in your twenties, you have way more problems than that. In: B. Kaklamanidou and M. Tally, eds. HBO’S girls: questions of gender, politics and millennial angst. Newcastle: Cambridge Scholars.  43–58.
  • Hermes, J., 2005. Re-reading popular culture. Oxford: Blackwell Publishing.
  • Hill Collins, P. and Bilge, S., 2016. Intersectionality. Cambridge: Polity Press.
  • Holmes, S. and Redmond, S., 2006. Framing celebrity: new directions in celebrity culture. London: Routledge.
  • hooks, b., 1995. Art on my mind: visual politics. New York: The New Press.
  • Horeck, T., 2015. #ReneeZellweger’s face. Celebrity studies, 5 (3), 305–320.
  • How to get away with murder, 2014. Season 1, Episode 4, Let’s get to scooping. TV. New York: American Broadcasting Company.
  • Humphreys, A., 2015. Social media: enduring principles. Oxford: Oxford University Press.
  • Jacobs-Huey, L., 2006. From the kitchen to the parlor: language and becoming in African American women’s hair care. New York: Oxford University Press.
  • Kaklamanidou, B. and Tally, M., 2014.The millenials on film and television: essays on the politics of popular culture. North Carolina: McFarland and Company.
  • Kanai, A., 2015. Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture. Celebrity studies, 6 (3), 322–340.
  • Knowles, B., 2016. Lemonade. Album. United States: Parkwood Entertainment and Columbia Records.
  • Knowles, S., 2016. A Seat at the Table. Album. United States: Saint Records and Columbia Records.
  • Kooijman, J., 2014. The true voice of Whitney Houston: commodification, authenticity, and African American superstardom. Celebrity studies, 5 (3), 305-320, .
  • Marshall, P.D., 2010. The promotion and presentation of the self: celebrity as marker of presentational media. Celebrity Studies, 1 (1), 35–48.
  • Meyers, E.A., 2015. Women, gossip, and celebrity online: celebrity gossip blogs as feminized popular culture. In: E. Levine, ed. Cupcakes, pinterest and ladyporn: feminized popular culture in the early twenty-first century. Chicago: University of Illinois Press, 71–92.
  • Opoku-Mensah, A., 2001. Marching on: African feminist media studies. Feminist media studies, 1 (1), 25–34.
  • Ramos, D., 27 November 2014. Viola Davis reveals battle with Alopecia. Black Entertainment Television [online]. Available from: http://www.bet.com/news/lifestyle/2014/10/08/viola-davis-reveals-battle-with-alopecia.html [Accessed 15 October 2015].
  • Ramsey, F., 2014, Her character was only supposed to remove her makeup before bed. Then Viola Davis made it real. Upworthy. [online], 6 November. Available from: http://www.upworthy.com/her-character-was-only-supposed-to-remove-her-makeup-before-bed-then-viola-davis-made-it-real [Accessed 5 October 2016].
  • Rose, R.L. and Wood, S.L., 2005. Paradox and the consumption of authenticity through reality television. Journal of consumer research, 32 (2), 284–296.
  • Royster, F.T., 2009. ‘Feeling like a woman, looking like a man, sounding like a no-no:’ Grace Jones and the performance of Strangé in the post-soul moment. Women & performance: a journal of feminist theory, 19 (1), 77–94.
  • Scandal, 2012 present. TV. New York: American Broadcasting Company.
  • Shapira, R., 28 March 2017. Maxine waters to Bill O’Reilly: ‘I’m a strong black woman, and I cannot be intimidated’. The Huffington Post [online]. Available from: http://www.huffingtonpost.com/entry/maxine-waters-bill-oreilly-strong-black-woman_us_58db09aae4b054637063198f [Accessed 29 March 2017].
  • Sobande, F., forthcoming, 2020. The digital lives of Black women in Britain. Palgrave Macmillan.
  • Stanley, A., September 2014. Wrought in Rhimes's image. The New York Times [online]. Available from: https://www.nytimes.com/2014/09/21/arts/television/viola-davis-plays-shonda-rhimess-latest-tough-heroine.html [Accessed 20 March 2016].
  • The Sydney Morning Herald, 14 October 2016. Viola Davis’ phone contains Hollywood’s best intersectional feminist message threads. The Sydney Morning Herald [online]. Available from: http://www.smh.com.au/lifestyle/celebrity/viola-davis-phone-contains-hollywoods-best-intersectional-feminist-message-threads-20161013-gs22cm.html [Accessed 27 March 2016].
  • The View, 2014. Season 18, Episode 9, Viola Davis. TV. New York: American Broadcasting Company.
  • Thomas, D., September 2015. Viola Davis and the ‘white feminist’ backlash. Los Angeles Times [online]. Available from: http://www.latimes.com/entertainment/tv/showtracker/la-et-st-viola-davis-white-feminist-backlash-20150921-story.html [Accessed 29 March 2017].
  • Tulloch, C., 2004. Black style. London: V&A Publications.
  • Usher, B. and Fremaux, S., 2015. Turn myself to face me: David Bowie and the performance of authenticity 1989–1999. In: E. Deveraux, A. Dillane, and M. Power, eds. David Bowie: critical perspectives. London: Routledge, 56–81.
  • Usher, B., 2015. Twitter and the celebrity interview. Celebrity studies, 6 (3), 306–321.
  • Vincendeau, G., 2015. Introduction: the ‘blond issue’. Celebrity studies, 7 (1), 1–5.
  • Warner, K. J., 2015. ABC’s Scandal and black women’s fandom. In: E. Levine, ed. Cupcakes, pinterest and ladyporn: feminized popular culture in the early twenty-first century. Chicago: University of Illinois Press, 32–50.
  • Weidhase, N., 2015. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity studies, 6 (1), 128–131.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.