fame

From OJ Simpson to Casey Anthony, America has no shortage of highly anticipated and hotly discussed trials. At the moment, Boston is a hive of judicial, legal, and media activity surrounding the trials of two infamous, if unrelated defendants: Boston Marathon bombing suspect Dzhokhar Tsarnaev and New England Patriots tight-end and homicide suspect Aaron Hernandez. An article from ABCNews by Denise Lavoe uses sociology to explain why some trials can gain so much attention and how that affects the ideal of trial by a jury of peers. In each of the Boston cases, jury pools reached well over 1,100 people until a group of potential jurors who hadn’t already reached a conclusion about the case could be found.

Quoted in the article, Northeastern University sociologist Jack Levin explains that each trial attracts interest and media attention in a specific way. People are interested in the Tsarnaev case because of “a widespread feeling that people have that they are vulnerable.” The fear of terrorism drives public interest rather than the fame of the defendant. The Hernandez case is different, as Levin explains, because the trial of a popular sports figure attracts its own kind of attention. Society, he says, places “tremendous value on athletes, and when one of them commits a serious crime like homicide, it shocks the public.” The trial of a disgraced, once-popular player draws public attention partially because the narrative seems to run so counter to prevailing perceptions of sport and athletes, as well as the gloss of fame. Tsarnaev is felt keenly as a physical threat to everyone, while Hernandez represents a more abstract threat to assumptions and values. Both cases will likely remain front-page news well into the future, but different social processes lay beneath their infamy.

Every year when I watch the Oscars, I wonder about this elusive “Academy” that each winner thanks. It wields such power over which movies become classics and which ones fade away into obscurity. In the build-up to the awards, there’s always much speculation about winning strategies for getting the attention, and votes, of the Academy. UCLA sociologist Gabriel Rossman and colleagues have researched films that have won Oscars over the years and identified a number of predictors of award success, which Rossman recently shared with The Atlantic.

They find that serious roles and “meaty” dramas that are released towards the end of the year (during awards season) are more likely to get nominations. Furthermore, the sociological concept of “cumulative advantage” can be applied to the Oscars, in that talented actors who work with other talented actors are more likely to get an award, rather than one particularly talented actor within an otherwise mediocre film.

These predictors for getting a nomination may seem obvious and even formulaic, but Rossman argues that films must meet these criteria while avoiding the impression of trying too hard. He says, “It turns out that audiences dislike movies that are ‘trying’ to get Oscar nominations but really like movies that actually ‘get’ Oscar nomination.”

Many of our posts focus on colleagues’ research, but teaching is also newsworthy.  The student newspaper at the University of South Carolina recently ran an article about an upcoming sociology course at USC—Lady Gaga and the Sociology of Fame.

The professor, Mathieu Deflem, explained the idea behind the course:

“We’re going to look at Lady Gaga as a social event,” Deflem said. “So it’s not the person, and it’s not the music. It’s more this thing out there in society that has 10 million followers on Facebook and six million on Twitter. I mean, that’s a social phenomenon. It’s a global social phenomenon. So the central question of the course is, this fame, which is ironically also the theme of her first records, how can it be accounted for? What are some of the mechanisms and some of the conditions of Lady Gaga’s rise to popularity?”

Deflem added that another key question of the course is, “What does it mean, and how does a person become famous?”

Deflem usually teaches criminology, the sociology of law, and policing, but he is excited to examine the popular social phenomenon in a sociological light.

In the beginning, the course will deal with the sociology of popularity in general. The first couple weeks probably won’t be about Lady Gaga at all. But then the Gaga scenario will be used as a real-life example detailing sociological traits. More specific information about the course content can be found at gagacourse.net – a site Deflem has already created for the class.