These are a couple of the Chanel No. 5 Films which have come out in recent years. This merging of entertainment and advertising is called ‘Branded Content’ – which as the name suggests is working towards marketing a certain Brand Name. In this case, it’s the classic Chanel Number 5 perfume, which has had female endorsements from Marilyn Monroe to Catherine Deneuve. It’s interesting to note – through the main choice of female actress – the way stardom works.
1. Both films reference each actresses’ most known and popular film – Amelie for Audrey Tautou and Moulin Rouge for Nicole Kidman
2. Both films were directed by the same director as the films listed above – Baz Lurhmann for Kidman’s Chanel No. 5 and Jean-Pierre Jeunet for Amelie.
3. Look at the way nationality is rendered in each film – the subtle differences between European Femininity and White American Femininity (despite Kidman’s Australian roots).
4. Both films have a marked different visual aesthetic despite the fact that they are selling the same product. Look at the pinkish tones paired with Kidman’s blonde hair as opposed to the yellow tones paired with Tautou.
Each star has a different persona that is built over a career of appearing in films, advertisements, magazines, talk shows, and inter-textual materials. A star’s on-screen and off-screen persona as well as their public and private life begin to merge. If you’re interested in stardom as a formal discourse, I would suggest Richard Dyer’s book Stars (London: BFI Publishing, 1979) – in which Dyer sets out to distinguish between stars as a social phenomenon, stars as images, and stars as signs. Furthermore, he analyses the tensions between ‘character’, star, and performance.
I leave you with a question from Dyer to ponder over stardom and performance…
Are stars a phenomenon of production (arising from what the makers of films provide) or of consumption (arising from what the audience for films demands)? (Stars, Pg. 9)