In fact, details of Kardashian’s efforts to adapt her body to the costume – losing 16 pounds in less than a month and bleaching Monroe’s white blonde for about 14 hours – Kardashian’s desire to be sculpted Shows, instead of paying homage to Monroe.
As Green observed, “I don’t know how to explain what he did because it was so subtle, but he turned on something inside him that was almost like magic. They were recognizing. That it was Marilyn Monroe as if she had taken off a mask or something, even though no one had noticed her a second ago.
The story has become part of the myths of one of the great stars of the Hollywood classic era. It captures an insignificant aspect of Monroe’s legendary appeal: the idea that its origins were somehow different from its celebrity. And there’s also the irony of the possibility that one could access this authentic Marilyn – if one only scrutinizes the details of her films, her life and her death, a crusade that The new biography shows no sign of slowing down. , Documentaries, online speculation, and much more.
Where Kardashian has made his career by blurring the line of the real thing, Monroe excels at hiding it. Monroe’s public image was so flawlessly presented, performed and presented that decades later, we are still eagerly searching for the woman under it all.
Still what Kardashian does The offer – and what could actually be in the service of Monroe’s legacy – is to show the hard work of image creation, something that would have ended Monroe’s mysterious fascination with the star’s own time.
What is the criticism of Kim Kardashian really?
But his attempt to embody Monroe’s personality is a new threshold in Kardashian’s often difficult attempts to play with his ethnic self-expression.
Kardashian has often embraced black cultural gestures as part of his personal aesthetics, inviting black style for white mainstream audiences. Her jeweled girlfriends, the Fulani tops she credited to Bo Derek, and her copy of Grace Jones’ famous photo for the cover of Paper Magazine are three of the most controversial examples.
In fact, Kardashian’s apparent focus on someone close to her, from her moment-to-moment change in her blonde Hollywood icon with Blackness, reinforces the idea for some that blackness is a non- Temporary pauses for ambiguous whiteness and dignity.
Conservationists, on the other hand, expressed their displeasure at the handling and display of historic clothing at the gala. Although Kardashian was certainly not the first celebrity (or even unknown) to wear vintage or archival clothing, this particular line of criticism quickly became the focus of Kardashian’s anger.
It is noteworthy that this is the conversation that has dominated the public debate since Kardashian’s adoption of Marilyn’s personality. The real concerns of the Conservatives about clothing, however, provide an easy cover for more theoretical criticism – that Kardashian dared to “become her” for one night, disgracing Monroe’s legacy.
The video circulated a video of one of the dress-fitting meetings, prompting ridiculous remarks about Kim’s soon-to-be “thick ass” or her skin tone and disconnection between Marilyn. Such an argument is based on assumptions about Kardashian’s racial performance, as well as criticisms based on taste, respect, celebrity, and authenticity.
This line of criticism effectively contradicts Monroe’s classic Hollywood film icon – established in films such as “Gentleman Prefer Blondes”, “The Seven Air Touch” and “Sim Like It Hot”. Positively, Kardashian’s “against the negative of being famous without anything” status has been achieved in the disgusting world of reality television.
Marilyn Monroe, proto-reality star
But those formulations – even if they are correct – lack the deep echo of what Kardashian’s public display of clothing indicates about Monroe and how his history has been deliberately revised.
Start with the fact that the outfit that Kardashian chose to wear is not related to Monroe’s movie characters or even most easily associated with Monroe as an icon: it is probably white / ivory There will be a dress designed by William Trevola for Monroe’s appearance. In Billy Wilder’s movie “Seven Years of Itch”.
Rather, Kardashian wore one of Monroe’s appearance gowns that we can understand as the forerunner of modern reality television: JFK’s television / recorded birthday party in Madison Square Garden.
The joys that make this moment famous – the context of Monroe and Kennedy’s relationship as Monroe teases her lover both live and in front of the television audience with the knowledge that his wife Jackie Looking at the house – maybe closer. Compared to the classic Hollywood movie Fellows, the contemporary reality television would like to acknowledge the melodramatic appeal.
In fact, the gown that Kardashian wore represents a special aspect of Monroe’s personality – notoriety rather than fame – and Monroe’s unique ability to take something horrible and embrace it instead. To embarrass oneself with it.
Our never-ending desire for the “real” woman
There is no aspect of Kardashian’s life that has not been mediated and presented to the public with Kardashian’s own hands. Significantly, while Monroe struggled throughout her career to find a professional agency, Kardashian effectively owned her image.
As the executive producer of “Keeping up with the Kardashians” (E !, 2007-2021) and “The Kardashians” (Hulu, 2022–), as the executive producer of his life and picture, we can argue. Yes, the “real” version of Kardashian is what she chooses to share with the public rather than the public enjoying exposing it – and owning it.
Monroe, and the studio system and its attendant publicity machine, portrayed the star as an awkward bomb shell: a sex pot whose main appeal was that she wasn’t trying to be sexy – she was just — Easily.
Kardashian could never become Monroe by dressing up, but perhaps the reason is that no one can become a “real” Monroe.