ABSTRACT
The media whore label accesses a long history of the misogynistic construction of feminine sexuality, and continues to pool ideas of excess, uncleanliness, and virality, particularly when the whore is drawn in opposition to the figure of the virgin. The Kardashian family first came to the attention on a visit to the United States, some time after their reality television show keeping up with the Kardashians had become popular. In Muntean and Petersen's analysis, spatiality of access combines with temporality to approximate the desired authenticity behind the star's constructed subjectivity. Gamson's treatment of the Jessica Hahn example may also confirm that the media whore is primarily a construction of broadcast and print media. Kardashian's excessive public profile equals 'whore' when viewed in juxtaposition with the authentic values displayed by Beyonce Knowles whose media attention is consequently deserved. Kim Kardashian's Twitter use both enhances and diminishes its intended shared social reality that is Kardashian's daily life.
