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Skip to Content. In documentary-style footage, Sylvia critiques her bikini-clad body in front of a mirror, speaking of her desires for smaller thighs and less pronounced ears. When Sylvia enters the Swan mansion for her big reveal dressed in a long formal gown, full make-up, hair extensions, false eye lashes, and four-inch heels, her metamorphosis draws gasps from the Swan experts, called the Dream Team figure 1.
She is no longer a woman whose body makes her ethnic and class excesses visible; indeed, before she can be a transcendent Swan, the Latin food she has consumed must quite literally be sucked from her body.
Such reliance on the image, in turn transforms conventional ways of inscribing and interpreting race, ethnicity, and class, since what is valued in the made-over woman are signifiers that connote middle-class discipline restrained forms of emotional and embodied excess , while surrounded by and clad in upper-class accoutrement gowns, chauffeurs, tuxedo-clad doormen, Romantic paintings, mansions.
In her Theory of the Image, for instance, Ann Kibbey has suggested that modern capitalism as we presently experience it relies on an historical provenance indebted to Calvin as much as to Marx. Makeovers dominate reality programming for complex reasons that include an aging baby boomer population eager to see stories about recaptured youth and the exigencies of reality TV production that have put an onus on non-unionized workers and non-fiction formats factors of some significance in the wake of the Writers Guild of America strikes in and The show is a highly successful export commodity it was sold to more than 50 international media markets , redistribution it airs in the U.
They offer a modality for improvement through conspicuous consumption, a protected zone of care and critique, bordered by a strict governing structure of rules and authoritative edicts.
The reality TV makeover similarly offers a place of redemption in the name of coherent gender identity, race and class signification, and self-improvement. A critical mass of programming now airs across global televised networks, each show offering modes of salvation that are predicated on class-specific principles of good consumerism and care of the self that offer the gateway to promised everlasting happiness.
As music swells to indicate the onset of the show, the palms separate to release an illuminated white dove that iconographically evokes spiritual release through embodied change. This, in turn, reinforces larger U. Their personal narratives underscore an injustice whose root cause is failed beauty and the consequent class and gender-shame perceived ugliness brings.
So as we saw, Sylvia must forego eating Latin food from a truck in order to be transformed, whereas other Swan participants explicitly marked pre-makeover as raced or working class must learn middle-class codes of discipline and refinement angry African-American Kim learns to forgive, timid Native American Merline learns to be assertive.
Though the color of her skin did not change, the markers of ethnicity on her body did. We learn that Cristina is an Equadorian-national, yet the more salient part of her story is that pre-makeover, she can only get a job cleaning offices. As indicated here, absorption into the American dream involves assimilation into a beauty culture that enables Cristina the psychic and somatic freedom to participate in American-style meritocracy.
Beauty, then, serves as an intermediary currency that buys Swan participants the appearance of upward mobility.
She is still as fully — and as ambiguously — Latina as she was before the operation. But surgery and the entire makeover induced by the Swan program brings Sylvia more fully into a culturally constructed version of appearance that subordinates race and class concerns to an iteration of gender that is resolutely whitened and not working class.
Within this regime gender normalcy is coded as white, an amalgam of middle and upper classes, heterosexually desirable, confident, and well-adjusted. The surface logic of the program collapses racial and class diversity into emotional and psychological hardship, thus suggesting that the wounds of a racist or classist culture can be healed through the balm of beauty. The narrative and visual presentations are punctuated with video clips that substantiate this need.
As we meet each new Swan contestant, we see drained and depressed women dressed in baggy clothes who speak of their deep unhappiness. Shame is the common denominator binding these women, a shame that has written itself on their bodies, shaped their psyches, and marked supplicants as needing redemption.
Significantly, pre-madeover women are not depicted as out-of-control and hyper-sexualized, as on other reality TV fare.
Instead, they are dutiful but dowdy: hardworking, responsible, and morose women whose shame is a matter of internalized social sanction rather than deliberate transgression. Significantly, spiritual riches are here evoked through material rewards.
Though their appeals speak to a desire to alleviate their body-based shame, there is also a class-based appeal at work, suggesting that their appearance has blocked full participation in a meritocratic economy, which has, in turn, hampered their spiritual development. From the marble foyer to the gilded stair railings to the Romantic paintings in heavy frames on the wall, this is a scene depicting luxury and expense, in turn suggesting the link between material and spiritual rewards.
Instead, they must only look the part to earn their reward. For more on how cosmetic surgery has been deployed to alter racial and ethnic markings, see Kaw, Banales, and Gilman. Whiteness, in this sense, operates as the unmarked. His statement also suggests that beauty and confidence are inter-changeable terms, so there can be no insecure but good-looking woman.
Individual episodes underscore this same reasoning. Throughout each episode there is a very clear sense that to be ordinary rightfully contributes to feelings of isolation and deep unhappiness. The discourse of averageness sets up a clear division.
Beauty, in turn, leads to the most precious of all signifiers: success, happiness, love, confidence, appreciation, power, and somatic and spiritual transcendence. So, for instance, African-American Kim loses her cornrows for long straight silky hair, and Native American Merline, who cannot afford dentistry, is given a million-dollar smile.
Look at the comparative skin colors of Cindy Ingle and Christina Tyree. Both Debra Gimlin and Victoria Pitts-Taylor further suggest that plastic surgery plays a critical role in identity formation in the way it enables the surgery recipient to align the body with an inner sense of self.
Popular message boards, like that on snopes. At stake is not what actually exists pre makeover, or what might exist post transformation, but what participants believeshouldexist. This is the terrain of the imaginary. We see a situation, then, where the defining power of what constitutes the norm, as Michel Foucault suggested, not only establishes the normal but regulates and makes intelligible the aberrant, here coded as dowdy and visibly classed or raced.
The ugly duckling who has desired to become normal achieves her goal by transcending the imaginary exemplum of every-woman. The made-over subject becomes the quintessential representative of the extra-ordinary, a category of the unmarked that functions as the idealized signifier of a whitened and upwardly-mobile subject.
The post-makeover woman exists in an ethnically anonymous state where it is her beauty, rather than her racial, ethnic, or class features, that code her identity. I think surrendering is. Rachel simply surrendered to her path. Rachel came ready to change. One of the big issues on the show is control.
Surrender and control, which is the hardest thing people have. Sometimes you have to surrender to experts, sometimes to God. You have to surrender.
Each patient undergoes multiple surgeries, yet the physical feat is depicted as a triumph not for the patient but for her doctors, a process that puts on display the multiple power inequities between doctor and patient along gendered, raced, and classed lines, as well as the power differentials of education, expertise, and status. Scenes in which the doctors talk about the processes invariably suggest that performing the procedures require extraordinary skill, whereas enduring the surgeries requires only obedience, discipline, and surrender.
Indeed, just as in more traditional religious structures, it is the perceived stability of these power relations that lead swans to their salvation. Contestants must continually learn to trust expertise and follow the rules, to give themselves over fully to the Swan program, and to invest in and reify the authority that accrues to the Dream Team, which is collectively coded as white, educated, and elite.
These lessons are not depicted as coming easily for Swan candidates. Though each participant is joyfully grateful for the experience to undergo extreme transformation, there is plenty of backsliding and recalcitrance.
We are shown subjects who sneak full-fat yogurt or who willfully refuse to wear their chinstraps. As with most makeover shows, giving textual time to resistance moments emphasizes narrative tension and reinforces the rightness of the power balance so that those in a position of expertise coach and compel, while those needing help must learn to relinquish their resistance.
It requires suffering, sacrifice, fortitude, and a complete sublimation of the ego. She can be a tough advocate, but she also functions as a comforting and soothing confidante, often reassuring Swan participants that she empathizes with their pain.
It is a clear choice to assemble experts and adhere without question to their advice. She selected her advisors, carefully choosing whom she would approach and exerting a degree of autonomy in her choices about whose advice mattered to her. Although Swan contestants have applied to be on the program, they are disallowed a comparable degree of agency in their options for change.
Indeed, they are asked to sign on to a process, to forego active monitoring of its progress, to isolate themselves from a support network of friends and family, and to allow their experiences to become media products that can be sold and distributed internationally.
In this regard, surgery is represented not as a replacement for therapy but as a co-facilitator of change. Most have relationship problems; several struggle with low sexual desire.
They have been too giving, too willing to violate their own boundaries for the sake of others. To overcome her trust issues, Sylvia role-plays a conversation with her father in which she tearfully says she never felt his love.
As so depicted, the pageant phase enables women to claim a homosocial sisterhood seemingly free of race and class difference. This community is unavailable to them in either their ugly duckling misery or their interstitial experiences of pain and suffering.
Intercut interviews showcase women tearfully grateful for their new sisterly community and inner peace. We see, then, that the language and purported goals of a second-wave feminism are here fused with spiritual well-being, the amalgam used to affirm both the outcome of the makeover and the pageant itself. Although we do not dispute that sexual confidence affords a significant form of currency, particularly as Holliday and Taylor note in a postfeminist rendering of female power as highly sexualized and playful, we resist the idea laid out here that a sexualized visibility is the only viable means of attaining female power.
Instead, they speak of the confidence, new opportunities, and spiritual balance that accrue to them as a result of their makeover and pageant experiences. If the vestiges of race and class alter in search of such redemption, then so be it. Indeed, it is through the very act of fixating on the body that one discovers how to transcend it. Enhancement of the body frees the pageant participants to aspire not only to fashion modeling but also to role modeling. Gina B. I am not selfish but helping myself to a more productive life and it will allow me to inspire women to embrace the swan deep inside them so they can spread their wings and fly.
This, in turn, allows the made-over woman to control the gaze through the power of her visuality, a form of empowerment that, it suggests, reinforces legitimacy as both a soul and a self.
As she puts it, her message is:. Because the goal is to be comfortable in your own skin, whatever it takes, inside and out. The emphasis on individual salvation, though consistent with American valorization of autonomy, reaffirms a problematic politics in its insistence that projects of the self will circumvent structures of inequality, eliminating the need for collective action.
Women seeking salvation through the Swan curriculum can therefore expect not resurrection of the body but resurrection to a body. It is an idealized form only salient through representation, constructed and made intelligible through refined skin and bone — the flesh made image. It is a powerful contributor to other media and cultural texts that work to redefine and make accessible concepts of the worthy self. The authors would like to thank Dwight Billings, Greg Waller, Radhika Parameswaran, Katie Lofton, and the anonymous readers, all of whom offered invaluable feedback.
We also thank Bernadette Wegenstein for so kindly offering us interview footage. Genders Main menu Home. Search Enter the terms you wish to search for. Other ways to search: Events Calendar Campus Map. Weber , Karen W.
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