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46
Cry, Go Outside (Stanley, 2010). This rule, which essentially establishes no emotion in
the office, is the exact “unemotional aloofness” that is associated with masculinity.
They also maintain workplace authority by constantly nagging their employees to
get work done. In episode four, Berkley emails one of the assistants only 24 hours before
a fashion show, telling him to get certain editors tickets, and expecting him to get the task
done without an excuse. When Emily’s assistant takes time off to go to a wedding in
California, he decides to quit. “You get to a point where there’s just too much abuse.”
The partners are, however, aware of their workaholic tendencies, and Bungert defends
Kelly’s behavior as something necessary in the fashion world. “Sometimes Kelly can
come off as abrasive because she’s a tough woman and you have to be tough sometimes
with people in this industry because if you don’t, people will walk all over you.”
Although visually Robyn and Emily appear feminine in wardrobe styling, wearing
lipstick and having their hair done, Cutrone does not. The New York Times and The Los
Angeles Times both noted the lack of feminine clothing for the fashion publicist, writing
that she does not wear makeup and “dresses sloppily” and that “She's even a little
shlubby[sic] …like someone who's too busy to bother” (Stanley, 2010; Press, 2010)
(Appendix, Figure 6). In this sense, Cutrone’s wardrobe styling is less feminine, which
makes her visually look more masculine than her colleagues.
Cutrone’s no-nonsense attitude is what she believes has gotten her this far in the
business, claiming that, “there’s no rest for the wicked.” While the end results of the
fashion shows are beautiful productions, Cutrone and her partners have no problem in
yelling at their staff to get the job done since the show must go on.
Object Description
| Title | Power party girls, good looking crowds and one hellish boss: The portrayal of the female entertainment publicist on reality television |
| Author | Hashem, Camille Renée |
| Author email | chashem@usc.edu; chashem87@gmail.com |
| Degree | Master of Arts |
| Document type | Thesis |
| Degree program | Public Relations |
| School | Annenberg School for Communication |
| Date defended/completed | 2011-04-01 |
| Date submitted | 2011 |
| Restricted until | Unrestricted |
| Date published | 2011-05-03 |
| Advisor (committee chair) | Thorson, Kjerstin |
| Advisor (committee member) |
Floto, Jennifer Saltzman, Joseph |
| Abstract | This thesis is an examination of the portrayal of the female entertainment publicist shown in reality television. With the large success rate of Samantha Jones from Sex and the City in the 1990s, female interest in public relations has increased, and good or bad, Jones has served as one of the predominate images of the publicist in the entertainment industry. Those who have performed critical analysis of the image of the public relations practitioner have deemed these representations as showing negative characteristics of those in the profession. While there has been previous research on the image of public relations in media, analysis of the female entertainment publicist in reality television has been left untapped.; The project consisted of a content analysis as well as interviews with various women in entertainment public relations. Three reality television shows featuring female entertainment publicists were watched: MTV's PoweR Girls (2005), Bravo's Kell on Earth (2010) and E! Network's The Spin Crowd. After conducting this analysis, the author found that the female publicist is put in one of two gender categories, the masculine bitch or the overtly sexy "PR Bunny." Other findings inferred that the dominant images within each series suggested that public relations is overall an easy field to enter, with little or no experience or professionalism needed. Finally, although the three series had some subtle differences, public relations is still shown as a glamorous job.; Interviewee responses showed that the negative representations of entertainment publicists on reality television are not indicative of the real life job itself, but that media's representation of it has led others to believe false or skewed images of the profession. Since these three shows' target demographics include young women about make a career decision, the impact they may have on this demographic, and how it may affect the future of public relations and the expectations of those about the enter the industry, is also discussed. |
| Keyword | communication; entertainment; media; public relations; reality television |
| Geographic subject (country) | USA |
| Coverage date | 1990/2010 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3875 |
| Contributing entity | University of Southern California |
| Rights | Hashem, Camille Renée |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Hashem-4503 |
| Archival file | uscthesesreloadpub_Volume26/etd-Hashem-4503.pdf |
Description
| Title | Page 46 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 46 Cry, Go Outside (Stanley, 2010). This rule, which essentially establishes no emotion in the office, is the exact “unemotional aloofness” that is associated with masculinity. They also maintain workplace authority by constantly nagging their employees to get work done. In episode four, Berkley emails one of the assistants only 24 hours before a fashion show, telling him to get certain editors tickets, and expecting him to get the task done without an excuse. When Emily’s assistant takes time off to go to a wedding in California, he decides to quit. “You get to a point where there’s just too much abuse.” The partners are, however, aware of their workaholic tendencies, and Bungert defends Kelly’s behavior as something necessary in the fashion world. “Sometimes Kelly can come off as abrasive because she’s a tough woman and you have to be tough sometimes with people in this industry because if you don’t, people will walk all over you.” Although visually Robyn and Emily appear feminine in wardrobe styling, wearing lipstick and having their hair done, Cutrone does not. The New York Times and The Los Angeles Times both noted the lack of feminine clothing for the fashion publicist, writing that she does not wear makeup and “dresses sloppily” and that “She's even a little shlubby[sic] …like someone who's too busy to bother” (Stanley, 2010; Press, 2010) (Appendix, Figure 6). In this sense, Cutrone’s wardrobe styling is less feminine, which makes her visually look more masculine than her colleagues. Cutrone’s no-nonsense attitude is what she believes has gotten her this far in the business, claiming that, “there’s no rest for the wicked.” While the end results of the fashion shows are beautiful productions, Cutrone and her partners have no problem in yelling at their staff to get the job done since the show must go on. |
