The image of Marilyn Monroe (1926-62)

The notion that there is some central Marilyn myth seems being belied by the vast number of interpretations visited over a image. But, as Barthes says, meanings shift, "everything isn't expressed at the exact same time" and myths come and go, so that "some objects come to be the prey of mythical speech in your while, then they disappear [and] others eat their location and gain the popularity of myth" (110). Indeed the image of Marilyn Monroe may possibly have undergone several mythic permutations simply because her untimely death initiated its intensive exploitation.

Certainly the apparent degree of difference among these views of Marilyn looks to disguise a deeper agreement. Well-liked biographers cover her from a variety of ideological slants. Norman Mailer, for example, viewed Marilyn primarily in sexual terms, being a phenomenon related virtually exclusively to male consumption. In doing so he applied the image of Marilyn like a techniques of "bolstering his mythologising on the American dream" where the image in the star was a promise delivered towards masses (Donald 50).

Taking this image of Marilyn in her white dress as the type of the semiological procedure of myth it's simple to determine how the ambiguity with the myth's signifier operates. As it is first a sign it has meaning, the meaning associated with the signifier with the linguistic system. In terms of this image that includes the circumstances with the film from the Seven Year Itch, the anonymity of the character, the character's attributes, the plot, and all of the contrivances that brought this particular actor, Marilyn Monroe, to that spot over the grate wherever her dress was blown up around her. As meaning the signifier "already postulates a reading" and can also be "self-sufficient" yet, as form, the sign in the linguistic procedure is seized by myth and its grip on meaning is weakened, leaving its contingency behind (117). The Marilyn within the blowing white dress loses its essential contingent connection of the circumstances with the film, from the reality how the image derives from this particular film, with whatever biographical content (i.e., the degree of Monroe's fame at the time or the region of her very own life), and with whatever guidance relating to carnality, childlike innocence, desire the image possesses. This regression from meaning to form stands out as the transformation effected by myth's seizure from the linguistic sign, but the transformation, rather than entirely suppressing the meaning, "only "impoverishes it, puts it at a distance, holds it at one's disposal" and keeps it there being a "reserve of history . . . which you'll be able to call and dismiss inside a type of rapid alteration" (118).

It was being a believer including a reader of myth that, shortly after Monroe's death, Warhol first undertook the portrait pieces that would proliferate more than the following few years--metamorphosing into a startling range of forms but relying on only several core images of Marilyn. The image --the head of Marilyn smiling, with short hair plus a high collar that wraps around the back of her neck is featur

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