Based on (a work by) Ernest Hemingway: The author as fictionalized celebrity
Bibliographic record
Abstract
Ernest Hemingway – bestselling author, journalist, winner of the Nobel and Pulitzer prizes for literature – is a famous person; however, like so many famous people, Hemingway’s celebrity allure is derived from much more than his work. It is for this reason that today Hemingway is better known for his associations with macho pursuits like fishing, big game hunting, bullfighting, war, and womanizing, and as a spokesperson for an amorphous lifestyle brand based on authenticity and nostalgia for some imagined golden age of masculinity. The aim of this dissertation is to trace the influence cinema, and later television, have had on the development of Hemingway’s celebrity persona as it changed from scrappy literary modernist to near-mythological figure. By employing the insights of celebrity studies, this study explores the ways Hollywood continually drew from both Hemingway’s work and life as it attempted to translate something of his charismatic personal appeal to the screen. As the twentieth century progressed, adaptations became central to what Richard Dyer would call Hemingway’s “structured polysemy.” Films like The Snows of Kilimanjaro and Hemingway’s Adventures of a Young Man, for instance, saw a blurring of the lines between Hemingway’s literature and his life that meant that the narratives were as much about him as they were adaptations of his stories. In the years since his death, a number of movies and TV series have dramatized Hemingway as a character. In these media texts, Hemingway appears as a pugnacious, and adventurous exemplar of masculinity rather than as a hard-working creative writer. Midnight in Paris (2011) has, in particular, established an influential image of Hemingway, one that is part of a continuum of characterizations. The result of these characterizations is that over time, Hemingway has become a fictionalized celebrity, what I call a fictocel. Aided by the processes of cinema and television appropriation and adaptation, the Hemingway fictocel, I argue, eventually replaces the historical person and author in the popular imagination.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.006 | 0.007 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".