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Authors and Media Entertainment: Australian Literary Celebrity Since the 1970S

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Authors and Media Entertainment: Australian Literary Celebrity Since the 1970S Authors and Media Entertainment: Australian Literary Celebrity Since the 1970s Della Robinson Bachelor of Arts, Edith Cowan University Bachelor of Arts (Hons), University of Western Australia Graduate Diploma of Education (Secondary), Edith Cowan University This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities Discipline of English and Cultural Studies 2019 THESIS DECLARATION I, Della Robinson certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text and, where relevant, in the Authorship Declaration that follows. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by The University of Western Australia Human Research Ethics Committee. Approval #: RA/4/1/4989 This thesis contains only sole-authored work, some of which has been published and/or prepared for publication under sole authorship. Signature: Date: i ABSTRACT The focus of this study is contemporary literary celebrity in Australia. It argues that this phenomenon originated with a shift in Australian literature from its national imperative to a globally-orientated commodity, which increasingly made use of celebrity as an effective marketing tool in the promotion of authors. This change was assisted by the mass media’s growing involvement in the production and reception of literature, which in turn, contributed to the publishing industry’s absorption, “into a global entertainment and information industry under the control of a handful of large conglomerates” (Moran, 2006: 324). These mega-conglomerations had investment holdings in numerous other, usually highly profitable, sectors of mass entertainment media, creating the ‘in-house’ opportunities to cross-subsidise between different divisions of the same parent company. Furthermore, it is the large entertainment holding companies that are shaping the marketing and promotion of literature, hence influencing the roles and functions of literary celebrities. This thesis examines some of the shifts in the terrain and logics of literary authorship since the 1970s. It investigates these changes through an interdisciplinary methodology, which incorporates concepts from the sociology of celebrity (authors and audiences), cultural studies, communication and media studies, semiotics, and the study of the psychology of entertainment. These fields are drawn upon to examine the operation of new factors, such as, participatory culture, transmedia storytelling, literary brand ambassador, mediagenic author, and literary media entertainment. The study’s principal argument is that literary celebrity is articulated through a new paradigm of literary media entertainment, formulated by a convergence of two economies: the entertainment economy and the attention economy. To demonstrate this, three authorial case studies are undertaken: Thomas Keneally, Kate Grenville, and Richard Flanagan, all major prize-winning Australian authors. The trajectories to fame of these celebrities, and their techniques for maintaining and managing their fame are studied in detail, enabling a more complex account of their social and cultural significance. The case study on Thomas Keneally explores how his authorial persona has been formulated through controversy, activism, and his participation in questions of Australia’s ii national identity. It also investigates how this author’s enduring accomplishments and constant presence in the mediasphere have endowed him with the power to endorse people, products, and events. Kate Grenville’s case study investigates how her authorship consistently builds on the dialectics of contemporary culture and the interrelation of different vectors of identity politics. Grenville’s authorial persona and treatment of political issues is explored through controversy, her early feminist novels, and more recent colonial trilogy. The case study of Richard Flanagan predominantly examines his authorial persona as an eco-political activist and ‘fearless’ dissenter, in particular analysing his participation in the attention economy in relation to news-worthy controversies surrounding his activism and intervention in topics concerning national identity. Collectively, the case studies suggest that it is becoming increasingly important for the literary arena to share in the ‘flow of content’ in an audience-centric mediasphere, and that the shift towards literary media entertainment is an essential ingredient for the success of an author in the contemporary era. iii TABLE OF CONTENTS 1 Authorship and Literary Celebrity.................................................................... 1 Introduction & interdisciplinary framework 1-5 A brief history of literary authorship 5-7 An overview of Australian literary authorship 7-12 Literary celebrity 12-22 The economy of entertainment 22-31 The economy of attention 31-36 Australian literary celebrity 36-46 Literary media entertainment 47-55 2 Literature Review.............................................................................................. 56 Historical background to contemporary celebrity 56-66 Literary celebrity and its approaches 66-86 Australian literary celebrity 86-92 The economy attention 93-98 The economy of entertainment 99-102 3 Thomas Keneally: Controversy, Endorsement, and the Attention Economy............................................................................. 103 Keneally’s early days – divided ideologies in the academy 105-109 Controversy, scandal and the attention economy 109-113 Critical censure and Keneally’s mid-career 113-117 Book sales and entrepreneurship 118-119 Controversy and the Booker Prize 120-124 Schindler’s Ark to Schindler’s List – adaptation 125-126 Author, identity, and performativity 126-132 Keneally and the televisual 132-135 Literary celebrity and paradigms of endorsement 135-140 4 Kate Grenville: Celebrity and the Postmodern Feminist Author.............................................................................................. 141 Grenville’s feminist voice is heard 144-146 Grenville’s national and international recognition 147-151 The new mediasphere and a fragmentation of the Fourth Estate 151-154 The fall-out from the ‘History Wars’ and the creation of media hype 154-161 Authenticating the process of [Searching for] The Secret River 161-165 Literary media entertainment and The Secret River 166-170 5 Richard Flanagan: Writer, Eco-political Activist, and Fearless Dissenter................................................................................... 171 Flanagan and literary aspirations 174-176 Eco-political activism and anti-authoritarian politics 176-183 Flanagan and the Tasmanian Times 183-186 Authorial participation and self-disclosure 186-193 The 2014 Booker Prize 194-196 The BBC’s Imagine… Richard Flanagan: Life after Death 196-199 Flanagan in Lebanon for World Vision 199-200 6 Conclusion...................................................................................................... 201 Appendix One: Interview with Thomas Keneally...................................... 207 Appendix Two: List of world-wide ‘MWHDE’ events…......................... 218 References...................................................................................................... 219 iv ACKNOWLEDGEMENTS First, I would like to thank my supervisor, Professor Kieran Dolin, for his expert guidance, endless patience, good humour, and the sharing of his knowledge throughout my candidature. I would also like to thank Professor Philip Mead for his initial thoughts on the historical timeframe of the project. I extend my gratitude to Thomas Keneally, ever generous with his time and thoughtfulness, and acknowledge the willingness of Professor Paul Sharrad to share his resources on the literary career of Thomas Keneally. I would like to record my appreciation of the travel award allocated to me by the University of Western Australia’s Graduate Research School, as this greatly assisted my research. Also, I am appreciative of the Australian government’s provision of a Research Training Program Fees Offset scholarship. I thank my husband Stephen and daughter Adell for their unending support, for which I am very grateful. v AUTHORSHIP DECLARATION: SOLE AUTHOR PUBLICATIONS This thesis contains the following sole-authored work that has been published. Details of the work: Robinson, D. (2013). Novel Forms and Brand New Relations: Exploring Convergence Culture and Australian Literary Celebrity. Limina: A Journal of Historical and Cultural Studies, 18(2), Special Edition: Humanising Collaboration. http://www.limina.arts.uwa.edu.au/__data/assets/pdf_file/0009/2570859/NovelForms- and-Brand-New-Relations-Exploring-Convergence-Culture-and-AustralianLiterary- Celebrity.pdf. Location in
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