ANGLOPHONE
STUDIES
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Editor-in-chief: Trevor Harris Book Review Editor: Molly O'Brien Castro |
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(Literature,
Civilization, Cultural Studies, Gender Studies, Linguistics)
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GRAAT: Pronounce [greit]
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GRAAT: Getting to the bone
A
peer-reviewed journal of Anglophone Studies
Brenda R. Weber, Makeover TV: Selfhood, Citizenship, and Celebrity (Durham & London: Duke University Press, 2010). $23.95, 344 pages, ISBN 978-0-8223-4568-8—Georges-Claude Guilbert, Université François Rabelais, Tours. Brenda
R. Weber teaches Gender Studies at Indiana University, Bloomington,
and has published extensively in the field. But Makeover TV
has as much to do with Cultural Studies / Visual Studies / Television
Studies, etc. This rigorously scholarly yet very entertaining book
is part of the Console-ing Passions: Television and Cultural Power
series edited by Lynn Spigel. It is devoted to that particular brand
of reality TV whose raison d’être is to subject automobiles,
homes or (more interestingly) people to a makeover. It was written
only after Weber had viewed more than 2,500 hours of makeover television.
Her huge corpus includes non-American shows. In addition, she cajoled
her friends and relatives into viewing makeover television for her,
and even grilled her students on the material. As a result she demonstrates
an impressive familiarity with her subject; there is no program she
has not watched, from the most innocuous to the most radical, from
those that merely buy the participants a new hairdo and a makeup set
to those that involve the heaviest surgery. Examples include The
Biggest Loser, Dog Whisperer, Extreme Makeover, How to Look Good Naked,
Pimp My Ride, Queer Eye for the Straight Guy, Supernanny, and
the British show What Not to Wear. The
book is skillfully divided into five chapters: “Makeover Nation:
Americanness, Neoliberalism and the Citizen-Subject,” “Visible
Subjects: Economies of Looking, Pedagogies of Shame, Sights of Resistance,”
“I’m a Woman Now: Race, Class, and Femme-ing the Normative,”
“What Makes the Man?: Masculinity and the Self-Made (Over) Man,”
and “Celebrated Selfhood: Reworking Commodification through
Reality Celebrity.” These titles speak volumes and very much
indicate the way Weber operates, the pun on “sights” in
the second chapter being much more than a mere play on words. Indeed
sights and sites of resistance is what this book is mostly about.
I myself whenever I have watched a makeover television show, in France
(where they often show appallingly dubbed American makeover programs),
Australia, the UK or the US, have often wondered about the “political”
conclusion I should draw at the end, in terms of race, class and gender.
And this is exactly what Weber does, leaving no stone unturned. To
this end she summons all the theorists and cultural critics she was
able to lay her hands on: Foucault, Butler, Bourdieu, Halberstam,
Mulvey, Dyer, Fiske, McRobbie, Tasker, Warner, Bordo, Cohan, Connell,
and even one of my own personal favorites, transgender theorist Susan
Stryker. Each writer is used with chiseled precision, as each sentence
pronounced by a participant is pondered over by a meticulous Weber. How
does makeover television work? Its “dramatization of labor,
suffering, punishment, and reward constitute almost the entirety of
the reality makeover’s textual time, positioning the During
as the heart of these programs.” [31] Weber calls the said participants
Before-bodies at the beginning of the shows and After-bodies at the
end. She highlights the way they significantly speak of themselves
in the third person, she asks the questions that must be asked about
agency, and throughout the book she underlines the “glorification
of the normative” [13]. She remembers that America (as Hollywood
indicates) has always been fond of Cinderella plots, of transformation
stories, very much part and parcel of the American Dream; and she
establishes suitable parallels with makeover television, that focuses
on “real life” Cinderella yarns, except of course, as
Weber reminds us, that “the name ‘reality’ is a
bit of a misnomer” in shows that constantly question every conceivable
notion of “identity” while they claim to know exactly
what identity is [16]. Before-bodies, Weber explains, are always presented
as inadequate, whereas After-bodies are better equipped for work and
dating—or dating and work, depending on focal point. The
whole book details what Weber compellingly calls “Makeover Nation,”
where inhabitants have “earned their citizenship through the
process of the makeover itself.” [39]. “In makeover nation,
majority perception equals truth, so it follows that one’s public
image is critical for determining and proving citizenship eligibility.”
[71] Most participants of the shows (at least those that interest
me more, as a feminist) are white heterosexual women. Gay men may
be seen in a supposedly positive light, as experts on makeover tactics,
but they remain peripheral, as do lesbians and African Americans.
Clearly, most shows are sexist, homophobic, fattist, lookist, and
racist, as they strive to eradicate any marker of difference from
the Before-bodies, transforming everyone into a middleclass white
desirable professional, according to “majority perception,”
the American Dream here being one of utter conformity, a conformity
that promises to bring happiness. Among my favorite lines in Makeover
TV are “Makeover Nation stands as a symbolic promised land.
In similar fashion to the Statue of Liberty, Makeover Nation beckons:
Give me your tired, your poor, your cellulited and your wrinkled,
the cluttered and the ramshackle, the huddled and ugly masses, yearning
to break free.” [79] Weber is particularly good when she looks
at shows involving doctors—those condescending plastic surgeons
who make millions and are widely uncritically respected off and on
screen. She notes the “discrepancy between the authoritative
‘seeing’ masculinized doctor and the passive ‘looked-at’
feminized patient,” and observes how only us “Cultural
Studies scholars, perhaps empowered by our own high levels of education
and cultural capital, hold the critical lens to medical doctors without
hesitation.” [119] Indeed, don’t we academics tend to
demand more explanations from specialists we consult, unwilling to
let them pontificate speedily and then dismiss us, as clueless as
when we arrived? So why should we as most viewers and participants
seem to, uncritically accept their “gender-normalizing gaze”?
[153] The
principal observation of Makeover TV is that all those programs
present the After-body as some “natural” or “true”
body. The makers do not dwell on artifice even though they deal in
artifice. The After-bodies all yell bewildering sentences like “I
am finally me,” “I am myself,” “I feel like
a woman,” “I feel like a real woman,” etc. I shall
refrain from indulging in spoilers, let the reader find out what Weber’s
conclusions are. Antifeminist? Feminist? Postfeminist? Postmodern
feminist? How can we reconcile the sweeping waves of essentialism
makeover television offers with our own political convictions? What
about the subject? The citizen? The Self?—this is basically
an epistemologically irreproachable ontology book. Is the participant
empowered or victimized by the program? Or both? Is the viewer empowered
by the program, or merely encouraged to indulge more than ever in
her couch-potato tendencies, gorging herself on junk food and daily
reducing her chances of professional promotion as well as her chances
of exciting dating, at the very moment when she is watching her fantasized
double getting a makeover that brings her closer to the stars, her
other fantasized doubles? The reader of this book, an indispensable
buy for every Cultural Studies / Gender Studies library, will be given
every possible element to ponder that question and others. At the
very least s/he will refrain from dismissing reality television too
quickly in the future, mistakenly seeing it as culturally irrelevant.
© 2010 Georges-Claude Guilbert & GRAAT
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sub-editor: Hélène Tison Webmaster: Georges-Claude Guilbert |