An Australian author who provides insight into the human condition.

Author Christine M Knight's Blog

Thursday, July 02, 2015

Do celebrities have a right to privacy?

Overseas readers, please be aware that I use the British system of spelling.

The right to privacy refers to a person’s right to have a private space, be it around the body (aka personal space) or associated with the home and personal property or having private matters in the person's life staying private. The right to privacy also refers to the right a person has to control the degree of access by others to a person’s private domain.

For most celebrities (not those associated with reality shows), celebrity status was a by-product of the person’s success. It was not the person’s primary goal. Instead the person was focused on achieving goals and longevity in a career and gaining recognition for a talent or achievement. Celebrity status is something that famous people are confronted with and have to learn to manage.

This topic is complex and there are three aspects to it: freedom from scrutiny versus a right to privacy, the media myth, the impact on the audience and in turn on society. 

Many people confuse freedom from scrutiny with a right to privacy. We are all subject to passing scrutiny when we’re out in public whether we are conscious of it or not. We observe others and are observed ourselves in turn. Sometimes as part of that scrutiny, we make judgements about who or what we see around us. It’s part of being situationally aware which is increasingly important nowadays. Similarly, we are subject to scrutiny by speed cameras when we travel on public roads and by CTV cameras in shopping malls and other public places. That scrutiny doesn’t mean a person’s privacy has been invaded though.

If you are a celebrity, there is a high probability that a greater percentage of people will be interested in you than they are in a passer-by. It is unrealistic for any celebrity to expect not to be observed and scrutinised when the celebrity is out in public but in a private capacity.

Given the high tech features of mobile phones (I believe Americans call them cell phones) and the ease with which people upload into social media nowadays, everyone has the potential to be a roving reporter. It is natural for fans to want to snap a discrete photo of a celebrity from a distance to record the experience and to share it with friends. In such circumstances, there isn’t any invasion of the celebrity’s privacy.

The second aspect of this topic centres on the myth and argument that celebrities forfeit their privacy once they develop public persona. Whether we realise it or not, we all have a public persona – the face and identity we choose to show to people outside of our homes. Our job – be it a trash collector or an entertainment industry star – is not a valid reason for others to deny our right to privacy. 

Of course, in the entertainment industry and politics, celebrities and the media need one another. Like all healthy associations, it should be a symbiotic relationship where there is a mutual benefit, not a parasitic relationship where one exploits and benefits at the expense of the other.

There isn't any valid reason for a celebrity to be treated as an expendable commodity, someone to be exploited and then discarded when exploitation is no longer possible. Certainly there isn’t valid justification for the exploitation of the dark or embarrassing moments of that person or that person’s family life.

The third aspect of this topic is the threat posed to civilised society when we accept the right of others to invade a person’s privacy. When people discuss the right to privacy, they mostly do so from the celebrity or media’s perspective. Few people stop to think about the impact on the audience. That impact is negative and supports the growth of a destructive culture.

The culture supports making money from ‘stolen’ moments in a celebrity’s private life and the writing of take-down articles. It appeals to baser human instincts within the composers as well as the audience. It is a culture that is unable to celebrate success and that lacks generosity of spirit. That culture threatens society because it shifts our reference points for what is acceptable and unacceptable. That culture endorses predatory behaviour that causes tragedy such as the death of Princess Diana.

You may say in response to this article that there are celebrities who behave badly and do so knowing they have a public audience. Surely, they have lost the right to privacy.

That does of course happen. A certain celebrity who shared compromising pictures of himself through Twitter and Instagram comes to mind. In that instant, the celebrity has surrendered the right to privacy for that act in that situation, however, the celebrity has not renounced the right to privacy for the rest of that person’s life.

The actions of the rude, crude, and uncivilised in social media are not reasons to publicise such behaviour. When the press pick up on that type of behaviour and promote it widely, they are contributing to a shift in societal values and the development of a spectator sport. That spectator sport is very similar to rubber necking and to the blood sport fascination associated with gladiatorial games in Ancient Rome. It is strongly reminiscent of the society in the capitol of Panem as portrayed in Hunger Games. If mainstream media does not pick up on social media sharing, a tweet is lost in the blink of an eye because a tsunami of information is now shared through social media.

If we want to sustain a civilised society, we have to consider the people who are impacted by widely publicised poor behaviour – the audience. Public exposure to questionable behaviour inadvertently sets a new code of behaviour because it implies it is acceptable and so establishes it as the norm.

Think for a moment about the way obscenity such as f***! has infiltrated the  language in everyday situations in a diverse cross section of society. Through constant exposure to it via film, music, and television, people have unconsciously absorbed the values implied by the use of that obscenity. The impact of that exposure on an audience is similar to the impact of subliminal messages. The impact is huge. Teenagers now use the word liberally and often without realising the word is offensive to many.

Even the most unlikely people, when in similar conflict situations to those shown in the mass media, find themselves uttering the expletive. A thinking person stops, aghast that she or he has reacted in that way, and questions the response and makes a conscious decision to reject the use of such expletives in the future. The unthinking person doesn’t even blink and in doing so endorses the behaviour, establishing it as a normal response and modelling it to the immediate audience as a normal reaction in stress.

As Lieutenant General David Morrison, former Chief of the Australian Army, said in June 2013, 'The standard we walk past is the standard we accept.'  I will go one step further. The behaviours we mirror and model in everyday life are the behaviours we condone in society.  

The right to privacy is an important right of citizens in a democratic and free world. We have a right to have a private space where we feel safe, be it around the body (aka personal space) or associated with the home and personal property and to expect the private matters of our lives to remain private. We have a right to control the degree of access by others to anything in our private domain. The right to such privacy is very different from freedom from surveillance. Since 9/11 and the rise of terrorism, there has been a genuine need for surveillance to ensure public safety and societal security - a totally different blog and discussion.



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The Month's Posts


      Wednesday, October 10, 2018

      Reflection on 'In and Out of Step'

      Wednesday, October 10, 2018

      Set between 1988-1990, In and Out of Step’s thesis picks-up on a period of significant change in Australian social and cultural history which mirror the wider western world. The novel reflects the popular perceptions of the era and explores reaction to changing roles and values, the relationship between generations, gender dynamics, and power in society through contrasting character perspectives.  

      The novel charts Cassie Sleight's (rhymes with slate) and her generation’s journeys in new and uncharted territory in their relationships: personal, social, and work after the second wave of the women’s movement.

      Life forces the women in my novels to reassess what they are doing, how they are doing it, and to evaluate who they are and want to be.

      Through Cassie’s experiences, the reader is entertained and provoked to consider the perceptions held and dualities of women’s roles in western society. That may suggest that this is a non-fiction work masquerading as fiction. However, this aspect is firmly set in the external world of the story and Cassie’s experiences.

      In and Out of Step explores:

      • how identity and relationships are shaped by the way gender operates and gender differences
      • how place—geography, attitudes, values, and culture—shape people’s lives and actions
      • the culture that supports and promotes sexual harassment in the workforce and social spheres
      • changing perceptions of gender roles
      • adapting to change in oneself and the wider world
      • the personal, social, and workplace influences that contribute to change.

      My novelsIn and Out of Step, Life Song, Song Bird portray the diverse and changing realities of women in the time the novels are set: 1980-1990, 1996-1998, 2000-2002.  The stories are anchored in the social and historical context of each period.

      Read more

      Saturday, August 12, 2017

      Life Song - a story of metamorphosis

      Saturday, August 12, 2017

      Twenty-two-year-old Mavis Mills first appears in my novel In and Out of Step. Outgoing, gregarious, and confident, Mavis is a significant secondary character in that novel.  Mavis' story - a subplot - is used to provide contrast to and insight into Cassie Sleight's (the central character) journey. 

      At one point in the novel, effervescent Mavis is severely injured – physically, emotionally, and psychologically - by domestic violence and the fire of her partner’s rage. He also destroys her guitar and the copies of her original songs. Part of  the subplot from In and Out of Step explores the context of the domestic violence and provides insight into the psychology of it. Excuses are not made.

      At the start of Life Song, Mavis is twenty-eight-years-old and very different from the young woman who shone throughout most of In and Out of Step. She is the central character in Life Song. She has become subdued, distrustful of her own judgement, and an echo of her former self. Unexpectedly, she discovers she has a choice: continue to live a life tainted by domestic violence or seize the opportunity before her and try to rise above her circumstance and, like the phoenix bird, leave the ashes of her past life behind.

      'Could she live the rest of her life as she'd been living. She couldn't, not now she'd glimpsed another world, fleeting though that vision had been.'

      Life Song is not a cliche 'chic musician on the road' story and is definitely not a romance. It is about the woman Mavis becomes and the people who stand by her as she undergoes transformation – physical, psychological, and to an extent spiritual. She does not solve her problems in the arms of a man but makes the hard choices herself.

      The drama comes from the tugs-of-war that Mavis has to work though. It is made all the harder because Mavis' heart is in conflict with itself. One person, no matter how strong, cannot win a tug-of-war alone. The same applies to Mavis.

      Readers learn about the things that give Mavis strength and that enable her to boldly embrace the inevitable changes coming into her life as she becomes Nikki Mills, the Song Bird from Oz.

      I recommend you listen to two songs from that novel: Sunshine Days and Life Song (A Vision Splendid) to get a feel for this story.

      There are many kinds of wins in life, most of them personal rather than widely acclaimed. It's those personal 'brave heart' moments that define Mavis. Reader feedback through my publisher and website is that Life Song is a gratifying read.

      As part of your journey in reading this blog,  I suggest you listen to Move On.  In my imagination, it is first sung by Mavis' support network, but ultimately the song becomes her personal mantra.

      Australia is a diverse landscape and has diverse communities. Life Song gives readers an opportunity to spend time in some of those communities. The title alludes to the fact that each character's life has its own melody and when sung in concert become the symphony that is Life Song


      Life Song is one of four novels in The Keimera Series. Each novel is a standalone narrative and has the backstory woven into it.  The Keimera Series is an opus.

      Keimera does not in any way allude to chimeraa monstrous fire-breathing hybrid creature from Greek mythology.

      If you would like to lend me your support so that I can produce more music from my novels, you can buy any of my songs from CD Baby.  Each of my songs can be purchased for the very small price of $1.69. My music is also on iTunes and other major online music sellers as well.

      Read more

      Sunday, June 25, 2017

      The story behind my song 'The Flame'

      Sunday, June 25, 2017

      'The Flame' features in my novel ‘Song Bird’. In the novel, it is sung by rock legend Rick Brody who serenades Nikki Mills (the central character in the novel). In real life, it was sung by Funnie Williams and Thanapat Yarchartoen (aka Film). I produced the song through Karma Sound Studios in Thailand.

      BACKSTORY TO 'THE FLAME' - The Singer or the Song?

      In ‘Song Bird’ and its prequel 'Life Song', Nikki Mills - the Girl from Oz - is a survivor of domestic violence. Once an innocent, she believed the very convincing serenade of her first significant love, Terry Kikby. Long before Nikki met Rick, his song 'The Flame' resonated with her.  She believed that Rick's songs really expressed his own ideas and values.

      Having been at the top of the music industry for sixteen years, Rick finds his music is dropping in the charts. Defined by his 'bad boy' image, he has lost sight of his real self. Consequently,  his music has lost its connection with his fan base. Interested in Nikki as a woman as much as in her skill as a lyricist, Rick collaborates with Nikki on a new album. 

      Flattered by Rick's interest in her and impressed by 'The Flame', Nikki embarks on a relationship with him.  A subplot in the novel explores the ramifications of that decision.  Can she help Rick find the heart that his music once had?  Will Nikki be hurt or healed by the relationship with him?  The answers are found in my novel 'Song Bird'. 

      Readers of this blog may also find the pop rock song 'Masque' and interesting insight into Rick and Nikki's relationship issues.

      I currently have 8 songs on CD Baby and iTunes. You can help me raise the money to produce the rest of my songs by buying one or more of my songs at the very small price of $1.69 per song. They are on sale at CD Baby and  iTunes. Online music streaming services such as Spotify and Deezer promote my music, but I only earn approximately one cent per one hundred streams. 

      Read more

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    • Media article about Christine's music


      Christine's rock song 'Masque' featured in an article on Marquix TV ( and Avastar (
    • As engaging as Bohemian Rhapsody


      Are you tired of dark narratives on TV, in the cinema, and on the news? Then escape into the world of 'Life Song' and 'Song Bird' , available on Amazon and other major online sellers. Th..
    • Christine M Knight's music update


      Thank you for visiting Christine M Knight's website. She is not only an author of wonderful novels but also a song composer and producer.. We ask you to help Christine's music cross over to comm..

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