Unlike living celebrities, dead celebrity cannot make another film, television show, musical recording or live or taped performance or statement (holograms, aside); they cannot suddenly interrupt what had been a consistent narrative with an unusual or uncharacteristic narrative-changing statement or incident. But, similar to what Jones writes, it is not that the dead celebrity narrative in the afterlife is unchanging, rather it develops layers of meaning enriching and resounding for some dead celebrities, more than others, and isn’t it interesting how and why this happens? Why are some fans so dedicated to a dead celebrity decades after their death and this passion often passed onto the next generation, as my sample of fans demonstrates. This
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Celebrity, within the area of fan studies, is still relatively small and, in particular, without the benefit of field research. Further, as Duffett (2014, 164, 167) remarks, aspects of the study of celebrity in fan studies is skewed by a disproportionate focus on stalking cases at the expense of examining other aspects of celebrity fans and, in celebrity studies, very little attention is given to fans. In terms of the market relevance of dead celebrities, they continually out earn living celebrities and the reasons for this are a fascinating myriad of reasons from the historical life of the celebrity, the cause and timing of their death, the estate regulation of the image, and management of assets in …show more content…
Exploring the Foundations of Social Inquiry, suggest the social and historical context of the case study is important as well as the action within the case study itself. The limitations of the case study are its ability to generalize to the population as a whole. Given my sample is not representative of the population, this limitation is considered. Despite this limitation, however, I use the data solely as a comparison to fandom-as-religion literature and to develop alternative explanations. In my three chosen case studies, John Lennon, Jimi Hendrix, and Johnny Cash, I aim for diversification, but there are not too many cases to make this study unmanageable. I use inductive reasoning to observe specific cases (Lennon, Hendrix, and Cash) assumed to be relevant to this analysis. I explore cases through in-depth data collection, namely participant observation and
Celebrity, within the area of fan studies, is still relatively small and, in particular, without the benefit of field research. Further, as Duffett (2014, 164, 167) remarks, aspects of the study of celebrity in fan studies is skewed by a disproportionate focus on stalking cases at the expense of examining other aspects of celebrity fans and, in celebrity studies, very little attention is given to fans. In terms of the market relevance of dead celebrities, they continually out earn living celebrities and the reasons for this are a fascinating myriad of reasons from the historical life of the celebrity, the cause and timing of their death, the estate regulation of the image, and management of assets in …show more content…
Exploring the Foundations of Social Inquiry, suggest the social and historical context of the case study is important as well as the action within the case study itself. The limitations of the case study are its ability to generalize to the population as a whole. Given my sample is not representative of the population, this limitation is considered. Despite this limitation, however, I use the data solely as a comparison to fandom-as-religion literature and to develop alternative explanations. In my three chosen case studies, John Lennon, Jimi Hendrix, and Johnny Cash, I aim for diversification, but there are not too many cases to make this study unmanageable. I use inductive reasoning to observe specific cases (Lennon, Hendrix, and Cash) assumed to be relevant to this analysis. I explore cases through in-depth data collection, namely participant observation and