Rights statement: The final, definitive version of this article has been published in the Journal, European Journal of Cultural Studies, 20 (1), 2017, © SAGE Publications Ltd, 2017by SAGE Publications Ltd at the European Journal of Cultural Studies page: https://journals.sagepub.com/home/ECS/ on SAGE Journals Online: http://journals.sagepub.com/
Accepted author manuscript, 348 KB, PDF document
Available under license: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License
Final published version
Research output: Contribution to Journal/Magazine › Journal article › peer-review
| <mark>Journal publication date</mark> | 1/02/2017 |
|---|---|
| <mark>Journal</mark> | European Journal of Cultural Studies |
| Issue number | 1 |
| Volume | 20 |
| Number of pages | 17 |
| Pages (from-to) | 39-55 |
| Publication Status | Published |
| Early online date | 19/04/16 |
| <mark>Original language</mark> | English |
This article discusses MTV’s Geordie Shore against the backcloth of current social conditions for working-class youth. It suggests that the aesthetic, physical and discursive features of excess represent hyperbole, produced from within an affective situation of precariousness and routed through the labour relations of media visibility. Hyper-glamour, hyper-sex and hyper-emotion are responses to the ideologies of the future-projected, self-governing neoliberal subject and to the contemporary gendered contradictions of sexually proclivity and monogamous heteronormativity. By ‘flaunting’ the realities of self-work and making the labour of themselves more/most visible, the participants of Geordie Shore are claiming an animated type of ill/legitimate subjectivity.