ABSTRACT
This chapter argues that John Waters’ 1988 film, Hairspray, challenges popular Western body ideals when self-proclaimed “pleasantly plump” protagonist, Tracy Turnblad, succeeds as a 1960s dancer who gains admittance onto TV via The Corny Collins Show. While Tracy and Amber Von Tussle experience near opposite narrative trajectories, a comparative analysis of their characters reveals surprisingly similar tactile film style, particularly through Waters’ use of abject sound effects. Tracy’s professional and romantic success, however, receives unrealistic stylistic treatment, particularly through the tactile, wet-smooching sound effects when kissing. This draws attention to the artifice of the film medium itself, mirroring the plasticity of her narrative arc. The similarity between Tracy and Amber’s sound effects emphasizes the pervasiveness of Western body ideals by suggesting that these body ideals negatively affect Amber as well. The use of repulsive sound in relation to Amber’s body affectively represents the physical anxiety and displeasure she experiences while trying to maintain a “perfect” image.
