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(Re)Reading Pop Personae: A Transmedial Approach to Studying the Multiple Construction of Artist Identities

“…77 Madrid argues that even though there are clear ontological distinctions between the characters played by Gabriel in films, his private personality, and his public persona, the amalgamation of and interaction between these three categories 'provides a space for a negotiation between fiction, public desire, and expectation, and the private construction of self for both the singer and his fans'. 78 He continues to argue, in a similar fashion to Negus, that 'fiction and real life seem to clearly inform each other' and that an artist's 'self and public persona are developed in relation to each other and in continuous response to the longings of the audience'. 79 As Madrid implies, the blurring between the public and the private that occurs in the persona plays a role in securing and maintaining audience interest.…”

“…78 He continues to argue, in a similar fashion to Negus, that 'fiction and real life seem to clearly inform each other' and that an artist's 'self and public persona are developed in relation to each other and in continuous response to the longings of the audience'. 79 As Madrid implies, the blurring between the public and the private that occurs in the persona plays a role in securing and maintaining audience interest.…”

“…For an introduction to various significances of gender variability in a contemporary context, see Jack Halberstam, Trans: A Quick and Quirky Account of Gender Variability (Oakland, CA: University of California Press, 2018). 123 See, for example, Hawkins's exploration of this topic in relation to Bowie and Madonna (Queerness in Pop Music, [62][63][64][65][66][67][68][69][70][71][72][73][74][75][76][77][78][79]. He considers the plurality of ways in which artists are perceived to 'confess' something about themselves (conceivably also through their social media posts), arguing that, more often than not, 'the public buys into the idea that the act of confessing reveals some truth about the artist in spite of hints of trickery and the tactic of put-on artifice' (Queerness in Pop Music, 62).…”