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For Fame and Fashion

机译：对于名人和时尚

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This research explores the ways cannibalism in Chuck Palahniuk’s novelHaunted (2005) and Nicolas Winding Refn’s film The Neon Demon (2016)are a consequence, and reflective, of the consuming nature of creativeindustries. The research draws from this exploration that the consumptivecharacteristics of cannibalism often allegorise the processes and careers ofartists. Specifically, the sacrificial nature of putting oneself into one’s work,the notion of the tortured artist, and the competitive nature of creativeindustries, where the hierarchy is ascended through others’ losses.In the framing narrative of Haunted, seventeen writers are trapped withinan isolated writing retreat under the illusion of re-enacting the VillaDiodati and writing their individual masterpieces. When inspiration failsthem, they sabotage their food supply in order to enhance their suffering,and thus their eventual memoirs. The writers turn to cannibalism, not onlyto survive but to remove the competition. By consuming each other, theyattempt to manufacture themselves as ‘tortured artists’, competing tocreate the most painful story of the ‘writing retreat from hell’.In The Neon Demon, the protagonist, Jesse, begins as an innocent youngwoman who becomes embroiled in the cutthroat modelling industry.Favoured for her natural beauty, Jesse antagonises her fellow models,developing narcissistic tendencies in the process. At the film’s end she iscannibalised by these rivals, indicating the industrial consumption of herpurity, the restoration of individual beauty by leeching off of the young,and the retaining of the hierarchy by removing the competition.Employing close readings of both literary and cinematic primary sourcematerial, this interdisciplinary study investigates a satirical trend withincultural representations of cannibalism against consumptive andcompetitive creative industries. In each text, cannibalism manifests as a consequence of these industrial pressures, as the desire for fame forcespeople to commit unsavoury deeds. In this regard, cannibalism acts as anextreme extrapolation of the dehumanising consequences of workingwithin this capitalist confine.
机译：这项研究探讨了Chuck Palahniuk的新颖性（2005）和尼古拉斯绕组的诺伊·邪魔（2016）的诺伊邪魔（2016）的方式探讨了CreativeIndustries的消费性质的结果和反思性。研究从这个探索中抽出了意见，即食共同主义的消费术往往占据了人类的过程和职业生涯。具体而言，将自己纳入一个人的工作，折磨艺术家的概念以及创造性行业的竞争性的牺牲性，层次结构通过其他人的损失。在闹鬼的框架叙述中，十七名作家被困在孤立的写作中在重新制定Villadiodati并写下他们的个人杰作的幻想下撤退。当灵感失败时，他们破坏了他们的食物供应，以提高他们的痛苦，从而提高他们的最终回忆录。作家转向同类，不仅幸存，而且删除竞争对手。通过互相消费，他们将自己制造为“折磨艺术家”，竞争以“从地狱写作的最痛苦的故事”。在霓虹魔鬼，主角，杰西，开始作为一个无辜的年轻人，他们在丛中成为一个无辜的年轻人Cutthroat造型产业。为她的自然美景，杰西对她的同学，在这个过程中发展自恋倾向。在电影的结束时，她被这些竞争对手划分，表明通过删除竞争来阻止年轻人的工业消费，恢复个别美丽，并通过删除竞争来留下等级的留置。雇用文学和电影原发性源泉的密切阅读此次跨学科研究调查了对消费和竞争性创造性产业的分析态势的讽刺趋势。在每种文本中，作为这些工业压力的结果表现出同类的表现，作为对福克斯的愿望犯下令人讨厌的行为。在这方面，同类主义是批次外推，对这款资本家限制的工作作用的脱色后果。

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