Issue名人例子集锦(持续更新中……)
[size=6]Diana[/size]i?OS/l[color=Red]Beauty[/color]4Qxk P4Z
Diana was beautiful, in a fresh-faced, English, outdoors-girl kind of way. She used her big blue eyes to their fullest advantage, melting the hearts of men and women through an expression of complete vulnerability. Diana's eyes, like those of Marilyn Monroe, contained an appeal directed not to any individual but to the world at large.
[color=Red]Television and newspaper[/color]
Most of the people who worshipped her, who read every tidbit about her in the gossip press and hung up pictures of her in their rooms, were not social snobs. Like Princess Grace of Monaco, Diana was a celebrity royal. She was a movie star who never actually appeared in a movie; in a sense her whole life was a movie, a serial melodrama acted out in public, with every twist and turn of the plot reported to a world audience. Diana was astute enough to understand the power of television and the voracious British tabloid newspapers. And she consistently tried to use the mass media as a stage for projecting her image — as the wronged spouse, as the radiant society beauty, as the compassionate princess hugging AIDS patients and land-mine victims, and as the mourning princess crying at celebrity funerals.
However, like many celebrities before her, she found out that she couldn't turn the media on and off at will, as though they were a tap. They needed her to feed the public appetite for celebrity gossip, and she needed them for her public performance, but what she hadn't bargained for was that her melodrama ran on without breaks. Everything she said or did was fair copy. After deliberately making her private life public, she soon discovered there was nothing private left.
[color=Red]Sacrificial[/color]
Diana was a sacrificial symbol in several ways. First she became the patron saint of victims, the sick, the discriminated against, the homeless. Then, partly through her real suffering at the hands of a rigidly formal family trained to play rigidly formal public roles, and partly through her shrewd manipulation of the press, Diana herself projected a compelling image of victimhood. Women in unhappy marriages identified with her; so did outsiders of one kind or another, ethnic, sexual or social. Like many religious idols, she was openly abused and ridiculed, in her case by the same press that stoked the public worship of her. And finally she became the ultimate victim of her own fame: pursued by paparazzi, she became a twisted and battered body in a limousine. It was a fittingly tawdry end to what had become an increasingly tawdry melodrama. But it is in the nature of religion that forms change to fit the times. Diana — celebrity, tabloid princess, mater dolorosa of the pop and fashion scene — was, if nothing else, the perfect idol for our times.