Analysis of an Article by Kavita Ilona Nayar on Gender Issues

Running Head: ARTICLE ANALYSIS 1
ARTICLE ANALYSIS 2

Article analysis
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Article Analysis
The article, You Did(n’t) Build That: Audience Reception of a Reality Television Star’s Transformation from a Real Housewife to a Real Brand by Kavita Ilona Nayar seeks to address issues and concerns concerning the erratic treatment of gendered concerns of self-branding both in media and culture (Nayar, 2015). Nayar explores a variety of ways in which the audience (particularly women) has received the transformation of reality television personalities. She bases her arguments on both cultural and gendered implications of the feminine audience in response to reality television self-branding. The following paper shall give an analysis of Nayar’s article from a self-branding perspective.
In order to substantiate her claim, Nayar divides Frankel’s audience into three categories. The three categories of audiences comprise of viewers who either serve as branded ambassadors, brand detractors or brand analysts (Nayar, 2015). Brand ambassadors totally support Bethenny Frankel’s undertakings and believe that her accomplishments are well deserved. On the other hand, band detractors initiate outbursts in opposition to Frankel and complain that her brand has no grounds and is therefore unsubstantiated. Brand analysts take pleasure in arguing how Frankel’s self-branding has been developed to fool audiences (Nayar, 2015). Similar to brand detractors, brand analysts are rather not fans of Frankel’s brand but to some extent, support Frankel’s strategy of using emotionality to support her brand and thus come up with a dynamic and bona fide persona that enthusiasts will support.
The audience’s perception of Frankel’s transformation into a television personality, star and brand has diverse implications; therefore, Nayar’s effort to relate the issue of Frankel’s self-branding with only three types of audience in everyday life is rather audacious. She has narrowed down Frankel’s audience leaving out most of the useful information relating to the types of audience. Different audiences have shown different types of reception. Therefore, I feel that she should have discussed more examples of audience depending on how they perceive Frankel’s self-branding issue. However, I cannot ignore the fact that her use of everyday examples, including the brand analysts who view Frankel’s transformation into a brand as an efficient way of doing business and generating income. Moreover, Nayar largely avoids useful information relating to self-branding where her suggestions tend to revolve around the acceptance and rejection type of audience reception leaving other matters out.
Personally, I agree with Nayar’s idea that self branding is particularly vital for the present generation of young employees. As a matter of fact, throughout their careers, a lot of professionals will have to transform industrial sectors, make transitions between careers, and be employed to work in companies as freelance workers, ambassadors and consultants. However, I believe that there are more types of receptions on the issue. For instance, there are those types of viewers who neither accept nor reject Frankel’s self branding only to learn something from the idea. They follow the activities of this television personality only for their own individual benefits which may have nothing to do with liking or disliking it.
This article is important since it explores a rarely debated issue of self-branding. However, she does not offer simple explanations in relation to her subject matter. Her theme is important one and one that is taking place in the society. Nevertheless, once a reader reaches the point where she is trying to give examples of the different types of audiences, she is not as clear enough in explaining these ideas. In general, I agree with most of the issues discussed in this article such as deceptive self-branding and Frankel’s suspicious million dollar deals with liqueur companies.
References
Nayar, K. (2015). You Did(n’t) Build That: Audience Reception of a Reality Television Star’s Transformation from a Real Housewife to a Real Brand. J Pop Cult, 48(1), 3-16.

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Running Head: ARTICLE ANALYSIS

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