Professional Documents
Culture Documents
Jeffrey A Brown
abstract
Cultural concerns about race, class and beauty often intersect with mass-mediated
depictions of the female body. Drawing on Foucault’s theories about disciplining the
public body, this article examines the changing public perception of Anna Nicole Smith
from an ideal beauty to a white trash stereotype. This analysis argues that Smith’s
very public weight gains, her outrageous behaviour and her legal battle for her late
husband’s fortune is presented in the media as an example of inappropriate conduct
for a white beauty ideal and thus is repositioned as white trash culture. Central to
this repositioning is the constant tabloid depiction of Smith as an ‘out of control’
grotesque. This article argues that contrary to the optimistic understanding of female
grotesques as effective agents of cultural criticism and social change, Smith
represents the female grotesque as an agent of cultural control that instructs middle-
class women on how to avoid committing classed, racial and gendered transgressions.
The article concludes that the case of Anna Nicole Smith functions as a cautionary
tale that reinforces cultural standards of normalization.
keywords
Anna Nicole Smith; female grotesque; class and gender; white trash; beauty; body
and cultural capital
The USA’s continuing desire to see itself as a classless society based on free
enterprise and equal economic opportunities for all is becoming increasingly
untenable. Populist notions of class in the USA tend to displace inequality onto
easily identifiable social constructions such as ethnicity and gender (Ortner,
1991). Class is, at least in the dominant racist logic of contemporary belief
systems, a matter of race rather than just a matter of power. In her discussion of
shifting working-class iconography in the media, Bettie (1995: 125) accurately
describes the uniquely American understanding of class relations, by noting that
‘class has not been replaced by other categories of difference, such as race and
gender, but is expressed through them’. In other words, skin colour and gender
after dropping out of school Smith moved to Houston from her home town of Mexia
(population 6,933), situated some 40 miles east of Waco, where she had worked as a
Ostensibly the Playboy article, and countless other magazine stories about Smith,
intends to emphasize the hurdles she has overcome in her life. But more directly
this type of biographical sketch characterizes her as quintessentially white trash.
Smith is repeatedly portrayed as an uneducated, Southern, small-town, unwed
mother whose only marketable skill is taking off her clothes. Whether or not this
portrait is accurate is immaterial. What matters is that Smith is publicly marked as
a symbol of all things undesirable or threatening to dominant norms. For most of
her career, Smith has served as a comic parable, as a lower class ‘other’ that the
general public can scoff at. This is the trap in which Smith is ensnared. Because
she has been so publicly marked as white trash, the possibility that she will
become one of the wealthiest women in the USA poses an ideological threat to
middle- and upper-class whiteness.
‘the shift from the socially inscribed mark of visibility attending spectacle to the self-
incorporated vision of the panopticon relation coalesced in the United States, not in
successive stages but as intertwined technologies that worked simultaneously to stage the
hierarchical relations of race.’
(Weigman, 1995: 39)
There are specific rules and traditions for reading the body as a bearer of cultural
meaning. The very strictly defined beauty ideal for women is perhaps the most
familiar and visible example of a tyrannical normalizing practice. Women are
Based on the popularity of Smith’s first cover Playboy featured her just two months
later as their Playmate of the month. Before the month was out Smith was
contracted by Guess jeans to succeed supermodel Claudia Schiffer in a series of
provocative advertisements for their clothing and jewellery lines. The wildly
successful Guess campaign featured Smith primarily in seductive poses or
scenarios reminiscent of classical era Hollywood glamour photography. It came as
no surprise when Playboy named Smith its Playmate of the Year for 1993. The
combination of Guess and Playboy helped Anna Nicole Smith become the pre-
eminent sex symbol of the early 1990s. The similar visual style of the Playboy
layouts and the Guess advertisements also clearly constructed Smith as a
bourgeois sexual ideal, as the living embodiment of the classical body: sleek,
symmetrical and self-contained. The photography used for both emphasizes
glamour and romanticism. Smith is clearly a fantasy figure on offer as an image of
perfection. The heavy, stylized make-up and hair, the jewellery, the flirtatious
poses, even the use of black and white photography all work to cast Smith as the
cultural ideal of white, upper-class womanliness. Striking in both these images is
the luminosity of Smith’s platinum blonde hair. In addition to this type of
blondness signifying sexuality, Smith’s hair in these images subtly reinforces the
natural superiority believed to be embodied by the bourgeoisie white woman. As
Dyer (1997: 122) demonstrates in his discussion of historical and contemporary
depictions of ideal femininity: ‘Idealised white women are bathed in and
For a brief period following her stint as Guess jeans supermodel and Playboy
Playmate of the Year, Anna Nicole Smith enjoyed enormous success and seemed to
be everywhere at once. She posed for other high-profile print and billboard
advertising campaigns, was a feature runway model in both New York and Paris,
‘The ‘grotesque body’ exaggerates its processes, bulges, and orifices, whereas the static,
monumental ‘‘classical (or bourgeois) body’’ conceals them. The grotesque body breaks
down the boundaries between itself and the world outside it, while the classical body,
consistent with the ideology of the bourgeois individual, shores them up.’
(Rowe, 1995: 33)
The image of an increasingly heavier Anna Nicole Smith clearly positioned her as a
highly visible female grotesque. The skimpy clothes that once had accentuated
Smith’s ideal body now emphasized the fleshiness of her arms and legs. That Smith
had been a celebrated model of the classical body only made her weight gain all
the more offensive to people. Perhaps what most shocked people and threatened
tabloid critics was that Smith did not seem sufficiently embarrassed by the change
in her body shape. Her modelling and acting opportunities almost completely
evaporated but Smith still paraded around at public events in tight, revealing
dresses and posed flirtatiously for the paparazzi. Although she was now regarded
as a ridiculous parody of her former sexpot self, Smith refused to stop enjoying her
fame. Because Smith continued to flaunt her figure in public and effectively
spoofed her own image and the notion of what it is to be a sexy starlet, she might
easily be seen to enact the potential for social transformation that Russo (1995)
suggests is the political agency of the female grotesque. But, as I hope will
become clear, in the case of Anna Nicole Smith her function as a ‘monument to
vulgarity’ dominates any liberating possibilities. As is most often the case, a
celebrity female grotesque is regarded as nothing more than a grotesque female.
The subsequent media and public outrage with Smith for not hiding away her now
grotesque body reflects the cultural belief that, as Susan Bordo (1993: 193)
demonstrates, bodies function as ‘a symbol for the emotional, moral, or spiritual
state of the individual.’ All too often it is assumed that a person’s body reflects
their intrinsic worth. The right body signifies the appropriate attitude. ‘The firm,
developed body’, Bordo (1993: 195) continues, ‘means that one cares about how
one appears to others, suggesting willpower, energy, control over infantile impulse,
the ability to ‘‘shape your life’’.’ The wrong body, the fat and corpulent body,
signifies the opposite: it is a personal and public failure to approximate all the
associated traits that society idealizes. Women who allow themselves to become
fat are openly derided for ‘letting themselves go.’ They are judged as lazy,
indulgent, out of control, sloppy, and ultimately unfeminine. The prejudices and
ridicule of large women is all the more vehement when she gains weight under the
glare of public scrutiny. For women like Smith who gain weight publicly (such as
Oprah Winfrey, Elizabeth Taylor, Sarah Ferguson and Kirstie Alley), their celebrity
marks their bodies as public property and lightning rods for scorn. As cultural
ideals, any female celebrity that breaks from conformity is interpreted as a threat
to social standards and is openly and actively censured.
In Smith’s case the fervour with which the media ridiculed her weight gain was
likely compounded by her previous image as the classical ideal. Here was a woman
who could embody the beauty ideal at a level that most women only dream about
and she was choosing not to. And worse, she was still putting herself on sexual
The obese, ‘particularly those who claim to be happy although overweight, are perceived as
not playing by the rules at all. If the rest of us are struggling to be acceptable and
‘‘normal’’, we cannot allow them to get away with it, they must be put in their place, be
humiliated and defeated.’
(Bordo, 1993: 203)
Such visible transgressions as Smith committed are an affront to the masses and
can not go unpunished. The full public force of normalization was quickly brought
to bear on Anna Nicole Smith and her grotesque body. Typical of the intense media
criticism was the coverage of Smith’s appearance at 1995 Academy Awards. A year
after first being exposed as fat, Smith again shocked people by appearing not just
drunk and disoriented but practically obese in a tight blue velvet dress. In a
bizarre public spectacle, Smith staggered around posing seductively for
cameramen while the crowd shouted insults at her. At one point Smith reportedly
had to be hurried along by security when she stopped to scream ‘I’m not fat! I’m
not fat!’ at the spectators. As the caption for The National Enquirer’s photograph
of Smith on the red carpet taunted:
Holy cow! Anna Nicole busts out. Play-buoyant pinup Anna Nicole Smith shows Oscar-goers
how she’s ballooned to an udderly ridiculous 224 pounds. Later, the bovine-size beauty and
date Peter Kamka headed to an eatery to put on the feed bag.
Everywhere the coverage was the same. Smith had not merely ceased to embody
the beauty ideal typified in the pages of Playboy; she had become a gluttonous
cow, a ridiculously out-of-control embarrassment.
when they [white trash] appear to shamelessly flaunt their trashiness, which, after all, is
nothing but an aggressively in-you-face reminder of stark class differences, a fierce fuck-
you to anyone trying to maintain a belief in an America whose only class demarcations are
the seemingly obvious ones of race.
(Penley, 1997: 90)
Interestingly enough, although Smith first became famous for her nude
photographs in Playboy, it is only after she is identified as a white trash
grotesque that her sexuality is seen as exaggerated. The airbrushed glamour shots
featured in Playboy are a far cry from the stories that emerged about her previous
life as a stripper in one of Houston’s sleazier clubs and the earlier, and raunchier,
nude photographs of Smith that surfaced on the internet and in other pornographic
magazines. The difference between Smith’s sexuality during her Playboy period and
the time both before and after that period can be likened to Kipniss’ reading of the
pornographic body as an emblem of class division. In her analysis of Hustler,
Kipniss (1992) argues that whereas Playboy continues the tradition of portraying
women as classical nudes (closed and contained, with a ‘focus always above the
waist’), the Hustler body ‘is often a gaseous, fluid emitting, embarrassing body,
one continually defying the strictures of bourgeois manners and mores and instead
governed by its lower intestinal tract – a body threatening to erupt at any
moment’ (Kipniss, 1992: 375). In fact, it is because Smith’s body is triply marked
as grotesque (fat, white trash and pornographic), that the metaphorical threat ‘to
erupt at any moment’ became a believable story in 1997 when it was widely (and
erroneously) reported in the press that Anna Nicole Smith’s breast implants had
literally exploded.
modern grotesques
Where Hustler may have a contentious class mission to upset social and sexual
norms, a mission very like that ascribed to female grotesques by much scholarship;
Smith’s white trash derived resemblance to the Hustler body is not a conscious
threat. Her out of control body may be an ideological threat to cultural standards
The importance of intent and agency as necessary components for modern female
grotesques to fulfill a liberating rather than limiting cultural role is demonstrated
by that other woman out-of-control from the 1990s: Roseanne Arnold. On the
surface there are a number of similarities between Roseanne and Anna Nicole
Smith. Both women are predominately identified as characters of carnivalesque
excess; both are common fodder for spectacular tabloid features; both have dealt
publicly with addictions and erratic behaviour, and perhaps most importantly; both
have struggled with fatness and their white trash roots. But, whereas Smith
initially gained her fame as a classical beauty, Roseanne became popular as an
aggressive and insulting comedienne. First in her stand-up act and then in her
sitcom, Roseanne expressed an unrelenting proletarian feminism that openly
critiqued both patriarchal and middle-class social norms. Throughout the 1990s,
Roseanne used her popularity to present a political viewpoint that challenged
hegemonic order. Not surprisingly, both Roseanne Arnold, the person, and
Anna Nicole Smith’s lack of ideological threat is evident in her ongoing project of
self-discipline. Despite refusing to exhibit an appropriate amount of shame for
having ‘let herself go’, Smith has struggled to recapture her image as a svelte
beauty queen. In the years following her initial exposure as fat and the subsequent
repositioning of her celebrity image from ideal beauty to white trash grotesque,
Smith has succumbed to both public pressure and internalized self-regulation. Like
many women in our society, Smith has battled her weight gains and alternates
between heavy and thin periods. But unlike most women, Smith’s attempts at
bodily self-discipline are met with not just personal affirmation but also with
media endorsement and public approval. During one weight loss phase The
National Enquirer trumpeted ‘Holy cow! Just look at her now... Anna Nicole Drops
50lbs!’ Articles like these manage to celebrate attempts at self-discipline while
further ridiculing the celebrity for having stumbled in the first place. At best
features like this are a backhanded compliment, at worst they are a reminder that
once an ideal has fallen they can never truly erase their failures. Moreover, like
almost all the tabloid articles documenting Smith’s attempts at bodily discipline
this one included ‘then’ and ‘now’ photographs. This tabloid strategy means that
incorporated with their congratulation of Smith are clear examples for readers of
which feminine body should be scorned and which should be emulated. From ‘Then’
to ‘Wow!’ the images in The National Enquirer contrast Smith’s obese appearance
at the 1996 Academy Awards in the tight blue velvet dress, with her slimmer (but
still busty) figure in jeans and undershirt. Smith’s public grotesqueness is robbed
of any political potential since the lower class and corpulent self is presented as a
negative model. And, more importantly, Smith compounds the negative value of
the out-of-control body by acting as a willing participant in the disciplining of her
own image. Smith’s battle with her weight and her white trash roots is a warning
for all women that they must remain ever-vigilant or they too risk falling from
grace. This type of ‘Before & After’ article about Smith suggests the degree to
which gaining weight or dressing inappropriately is presented as regressive in
contemporary culture. Although Smith’s case has taken on an exaggerated and
specifically ‘spectacular’ dimension, even the most cursory glance through popular
media forms directed at women demonstrates a consistent style of ‘Before & After’
surveillance (‘Make-Overs’, ‘Do’s & Don’ts’ and ‘What Not to Wear, etc.), warning
all women that they should constantly strive to reproduce the ideal body lest they
be labelled deviant.
Anna Nicole Smith’s continuing battle to recapture her status as an ideal beauty
may seem extreme due to her notoriety (and notoriousness), but it is a battle
shared by millions of women. The twin disciplinary strategies of public ridicule and
Women, then’, ‘like other skilled individuals, have a stake in the perception of their skills,
whatever it may have cost to acquire them and quite apart from the question whether, as a
gender, they would have been better off had they never had to acquire them in the first
place. Hence feminism, especially a genuinely radical feminism that questions the
patriarchal construction of the female body, threatens women with a certain deskilling.
(Bartky, 1998: 145)
This rupture that Bartky identifies between accepting a feminist agenda and the
reluctance to abandon any complicity in the beauty system also makes clear the
intentionality required for a female grotesque to function as a true threat to social
standards. Thus, the self-identified ‘hardcore feminist’ Roseanne is an effective
grotesque ideologically because she chooses to exercise the intellectual and
comedic skills needed to critique patriarchal standards. Whereas Smith, [who,
when asked about feminism in an interview for Entertainment Weekly replied:
‘Whoever started that, I could kick them in the head. I believe in women staying
home and watching the children while the husband’s at work – the traditional way’
(May 28, 1993: 33)] is such a captive of the beauty standard and has been so
effectively characterized as being transgressive only because she is white trash
and hence destined to fail, can only be understood as a grotesque without power.
The bride wore cleavage. The 89-year-old groom, speaking from his wheelchair, assured the
11 people in attendance that he sure did adore his new 26-year-old wife, for whom he
already had purchased $1 million worth of jewelry. After the champagne-and-chocolate-
Although more reserved in their account of the event than other tabloids, People’s
coverage was typical in that it presented the marriage as an absurd spectacle. By
stressing his wealth and infirmity, her flamboyant sexuality, and above all, the
extreme age difference between them, the marriage was framed as a ludicrously
obvious example of a sexpot taking advantage of a senile, but wealthy, old
pervert. Numerous magazine and newspaper articles described Anna Nicole Smith
as the ultimate gold-digger. Likening Smith to her role model, Marilyn Monroe,
Texas Monthly (August 1999) ran a cover story about the wedding entitled ‘How to
Marry a Millionaire’. Even less tastefully, People magazine recycled the reference a
year later when they covered Marshall’s funeral under the heading ‘How to Bury a
Millionaire’. Even if this was a mutually consenting relationship it flew in the face
of conventional American beliefs that all marriages should be based on true love.
For visual proof of how preposterous the relationship was, the public had to look no
further than the two widely circulated photographs of Smith and Marshall first
smiling for photographers and then very awkwardly kissing at the request of
reporters. The image of Smith tentatively kissing a man old enough to be her great
grandfather was greeted with the same degree of disgust as the pictures of her
excessive weight gains would be just a few months later. Like her body, Smith’s
marriage to Marshall was treated as evidence of her lowly status. After all, what
could be more white trashy than willingly prostituting yourself in marriage to an
89-year-old man?
As the media coverage of the Anna Nicole Smith and J. Howard Marshall II marriage
suggests, public reactions ranged from laughter to disgust. Wealthy older men
marry beautiful younger women all the time in our society, yet rarely is the
coupling greeted with as much consternation as this one. The blatantly excessive
nature of the Smith/Marshall union became a matter of public interest because it
exposed several unspoken rules about power, economy and sexual relations in our
society. This was a particularly problematic marriage because it united not just
two people, but two realms of capital. The first, and most obvious, is the realm of
financial capital represented by Marshall’s wealth. The second, and more complex
realm, is the bodily capital accumulated by Smith through her status as a sex
symbol. The first is easiest to understand as a direct representation of Marx’s
notion of economic class. Because American culture is founded on the deep-
seated ideology of capitalism and free enterprise, a system which is supposedly
open to all, the accumulation of wealth stands as the clearest marker of social
rank. Thus, despite the USA’s continuing wish to see itself as a classless society,
financial success is understood as evidence of class differentiation. In modern
Despite the symbolic and structural association between economic capital and
bodily capital, only one form can literally be taken ‘to the bank’. Both forms may
be measurable but only economic capital is understood as a true mark of class
status in American society. The clothing, cars, houses and other luxury items may
outwardly represent an individual’s fiscal worth, but these features are regarded
as merely symbols of an underlying value. Beauty, on the other hand, is all surface.
Bodily capital may symbolize physical and moral worth but it is not supposed to be
directly exchanged. But, as Chancer (1998) points out in her analysis of Marx and
Engel’s economic theories as they relate to feminist challenges of emancipation,
beautiful women are often perceived as mere objects of exchange. Chancer writes:
We can deduce from Engel’s argument ‘that male domination turns women into objects of
exchange. It is not just that women are subordinated for procreative purposes, but they
have also become valued possessions in themselves, a source of asserting power between
men. Moreover, above all, it is their bodies that patriarchal property holders now seek to
dominate, to control, and ultimately to own. Thus women are forced into constituting a
major form of capital: what we might call here sexual capital.
(Chancer, 1998: 261. italics in original).
That Smith was (and still is) consistently depicted as simple-minded seductress
who used her cartoonish sexuality to swindle an old man of his hard-earned
fortune reflects the American belief that capital, and thus class standing, must be
appropriately earned. Despite the myth of democratic access, the press’
presentation of Smith as unworthy reveals the qualitative difference between
the poles of economic capital and bodily capital upon which this trial was based.
Marshall, a Yale law school graduate, earned his oil tycoon status through a
lifetime of hard work whereas Smith, observers are constantly reminded, has done
nothing of ‘real’ worth to achieve her bodily capital. Even as a celebrity her
achievements are suspect. As P. David Marshall (1997) argues in his analysis of
early 20th century film celebrity, the entertainment industry relies upon a strategy
of emphasizing the hard work and finely honed performance skills of stars to justify
their meteoric economic increases. ‘The concept of merit and ability’, Marshall
concludes, ‘was transposed into the language of character and the personal
history of the star’ (Marshall, 1997: 91). Thus, the public tends to accept the
extreme wealth of celebrities because we understand them to have earned their
monetary rewards by working diligently at their craft. How often in interviews do
movie stars describe the long days they spend on the sets in any variety of
unpleasant conditions as the true and unglamorous reality of their profession? Or,
even more compensatingly, supermodels complaining about how much hard work it
is to stand around being beautiful for the camera while on an early photo shoot on
a tropical beach? Yet while this perception of celebrity merit is an acceptable
rationale for the financial ascendancy of a wide variety of famous individuals, it is
no longer seen as applicable to Smith. She is no longer a real actress, appearing
only in straight-to-video features since her post-Naked Gun slide into
grotesqueness, and no longer even a real model, her early career as a pornography
model and later career as a plus-size model now completely eclipsing her fame as
the face and body of Guess. Smith’s characterization as devoid of any real skills
and her failure to maintain her one true claim to fame, her semblance to the ideal
bourgeois body, bolsters the public opinion that Smith does not deserve to be
rewarded with the bulk of her late husband’s fortune.
postscript
Subsequent to the media circus surrounding the inheritance trial, Anna Nicole
Smith continues to function as a public spectacle of class, gender and bodily
normalization. The court’s decision to award Smith with $450 million and her very
public white trash personality indicated a possible fissure in the American
conception of class as a financial concept easily bracketed off from issues of
gender, taste and bodily ideals. Yet, just as the transgressive political potential of
the female grotesque is rarely able to effect real cultural shifts in perception, the
threat posed by Smith’s ‘white trash with money’ status has been concisely
neutralized by the cultural industries to further naturalize the relationship between
physical and class ideals. During the 2003 and 2004 television seasons, E: The
Entertainment Network, aired its most successful series ever: The Anna Nicole
Smith Show. Ostensibly just another program cashing in on the reality television
trend, The Anna Nicole Smith Show depicted Smith’s day-to-day life, settling in to
an upscale Beverly Hills home, and balancing her minor celebrity with her family
and social life. Despite critical disdain, the program became an instant hit with
Tellingly, the public mocking of Smith and her show only stopped when she emerged
in the off-season as a spokesmodel for the weight loss product Trim-Spa.
Reversing the earlier villainization of Smith that accompanied her dramatic weight
gains, the newly svelte Smith garnered a tidal wave of media congratulations for
capitulating to more appropriate bodily norms. Rather than a grotesque she was
quickly repositioned, yet again, as an ideal on talk shows and in men’s magazine
spreads. Her return to sex symbol status also meant her reality show was
cancelled. Wealthy women apparently are exempt from being mocked if they at
least conform to physical ideals. The ongoing public spectacle of Anna Nicole
Smith may be characterized in the press as a strange case of a celebrity obsessed
culture, but her oscillating status as beauty and as grotesque, as a physical ideal
and as white trash, reveals the persistence and the pervasiveness of normalization
traversed by women.
author biography
Jeffrey A. Brown is an Assistant Professor of Popular Culture at Bowling Green State
University.
references
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Nadia M and Sarah S. (1997) editors, Writing on the Body: Female Embodiment and Feminist
Theory, New York: Columbia University Press, 129–154.
Begun, B. (2000) ‘Anna’s new assets’ Newsweek, 9 October, 84.
Bettie, J. (1995) ‘Class dismissed? Roseanne and the changing face of working-class iconography’
Social Text, Vol. 14, No. 4: 125–149.
Bordieu, P. (1985) ‘The social space and the genesis of groups’ Theory and Society, Vol. 14:
723–744.
Bordo, S. (1993) Unbearable Weight: Feminism, Western Culture, and the Body, Berkeley: University
of California Press.
Carver, L. (1996) Dancing Queen: The Lusty Adventures of Lisa Crystal, New York: H. Holt.
doi:10.1057/palgrave.fr.9400240