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Running Head: SHIA LABEOUF’S REPUTATIONAL DAMAGE AND CELEBRITY ACTIVISM 1

A Man Divided: Shia LaBeouf’s Reputational Damage and Celebrity Activism

Allyson M. Penner

Drury University

April 2017

SHIA LABEOUF’S REPUTATIONAL DAMAGE AND CELEBRITY ACTIVISM

A Man Divided: Shia LaBeouf’s Reputational Damage and Celebrity Activism

Brand Background

Shia LaBeouf is currently 31 years old, known for his quirky

personality, unusual behavior, and eye-catching (and sometimes

controversial) performance art. Born in LA, his career began when he

performed stand-up comedy in his neighborhood. At age 14 LaBeouf began

acting in Even Stevens on Disney Channel, and from then he went on to act

in Transformers, Distrubia, Fury, and more.

Rise to Fame

LaBeouf became known for giving moving performances that were

relatable to all ages. With his career start in Even Stevens, he had a

connection to the younger generations. Then moving to Holes, he became

an iconic actor for many people. With his shift to action movies like

Transformers and away from Disney, he kept his younger fanbase, but it

grew to reach older generations as well.

More recently, LaBeouf has become known for using unconventional

methods to get into character. While acting for American Honey in 2016, he

got multiple tattoos to feel connected to his role. LaBeouf said himself,

“They wanted a f-king fireball. They wanted a loose cannon. I’m learning

how to distill my ‘crazy’ into something manageable, that I can shape and

deliver on the day” (Setoodeh, 2016). Quickly the public learned that

LaBeouf was not the same actor he was when he acted in Holes.

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The Downfall

In 2009, his career started to decline due to drunken behavior and

alcohol abuse. In 2013, LaBeouf was charged with plagiarism. This led to his

first performance art stunt on the red carpet at the Cannes Film Festival.

There he wore a paper bag over his head with the words, “I am not famous

anymore” written on it. From then on LaBeouf seemed to be attracted to the

use of participation and performance art. In February of 2014 he produced

the #IAMSORRY project to let the public interact with him in a room alone

with the same “I am not famous anymore” bag over his head.

In March of 2015, he created another hashtag art exhibit online – a

livestream of his heart titled #FOLLOWMYHEART. Two months later, he

performed the iconic “Just Do It!” (see Appendix A) speech in front of a green

screen – quickly becoming an online meme sensation (Bruner, 2017).

Current Events

Sticking to the theme of participatory performance art livestreams,

Shia LaBeouf is currently partnered with Luke Turner and Nastja Ronkko to

host a four-year-long live stream titled, “He Will Not Divide Us.” The mission

of this live stream is, “a show of resistance or insistence, opposition or

optimism, guided by the spirit of each individual participant and the

community” (Levy, 2017).

This new participatory performance art promoted and conceptualized

by LaBeouf has not been well liked by the museum partners or the public –

leading to necessary police protection and anonymous threats.

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Case Overview Shia LaBeouf is slowly losing his credibility – but this new art project

has made his image even more unusual and confusing. It began when he

started creating his performance art livestreams, and so it continues with He

Will Not Divide Us. On January 20, 2017 (President Trump’s inauguration)

LaBeouf, Turner, and Ronkko began a four-year-long livestream titled, “He

Will Not Divide Us.” Taking into account the politically aggressive season,

this art exhibit and political statement was sure to be controversial. This

exhibit’s purpose was not to protest the new president, but was merely, “a

participatory performance artwork resisting the normalization of division”

(Bellafante, 2017).

Within the first week of the protest, LaBeouf was arrested. On

February 10, less than a month later, the protest was removed from the

Museum of the Moving Image in Astoria, New York and the livestream was

shut down. The museum claimed that the exhibit was a public safety hazard

and that law enforcement could be better utilized in other ways.

RiseEven StevensHolesTransformers

DownfallAlcohol AbusePlagiarism"I Am Not Famous Anymore""Just Do It!"

Current EventsHe Will Not Divide Us

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On February 17, the livestream commenced in Alburquerque, New

Mexico. Within five days, the livestream was shut down again due to

vandalism.

Due to how quickly these vandals and protesters came after the

exhibit, LaBeouf and his two partners decided to move the livestream to an

“unknown location” on March 8. Instead of inviting people to participate,

taking into account the public safety scares, the performance was changed

to be a white flag with the words, “He Will Not Divide Us” in bold letters. A

camera was pointed at the flag to live stream it’s action for the rest of the

exhibit’s existence.

However, this was not going to happen easily. Internet, “trolls” from

the website 4Chan decided they were going to find the flag and take it down,

again, in protest of the art exhibit. While there were no clues given on how

to locate the flag, this group used airplane flight patters, as well as tips on

where LaBeouf was last seen to locate the flag. The flag was located in

Greeneville, Tennessee on March 9, just 37 hours after being put up

(Jackson, 2017). The group removed the flag and replaced it with a Make

America Great Again hat and a Pepe the Frog t-shirt. Thus turning the art

exhibit and political statement into a giant game of capture the flag and an

Internet meme.

This did not stop LaBeouf, Turner, and Ronkko. The flag was removed

from Greeneville, but placed in Liverpool, London on March 22. The next

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day, the flag was removed and again, the livestream stopped. It has yet to

go live again.

This art exhibit could be a crisis in itself. It seems to be an ineffective

political statement that people are resisting and attacking. However, this

paper is analyzing how Shia LaBeouf’s involvement is damaging his

reputation.

LaBeouf’s unusual behavior from the past has greatly diminished his

credibility from the height of his career during Transformers. On the

Internet, users have already taken his brand and turned it into a meme.

They see him as a quirky guy that does weird things and they laugh about it.

This exhibit is not just a weird thing – it is meant to be a serious political

movement. Due to LaBeouf’s new reputation as the crazy actor, people are

not taking this exhibit seriously.

Not only is the public not taking LaBeouf seriously, neither are the

museums the exhibit is partnering with. The Museum of the Moving Image

feared for public safety and claimed that LaBeouf did not care about the

safety of average citizens that were participating.

In the course of three months, they have exhausted three different

museums and one unknown location in an attempt to keep the exhibit alive.

Each museum has had to remove the exhibit due to public safety reasons

and no longer support the exhibit. At this point, it’s unknown if the group will

continue the exhibit at another location or if they will take notice of the

public distaste and aggression and shut it down for good.

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Key StakeholdersFor any business, especially today with readily access to the internet,

stakeholders have the final say in what happens to your business, they

determine if you are in a crisis or not. The same is true for a personal brand

or reputation. Shia’s participation is not only hurting his personal brand, but

his reputation is hurting the art exhibit.

Museums

The most noticeable stakeholders are the museums that have hosted

the He Will Not Divide Us exhibit. They put their own reputation on the line

to host a risky and controversial exhibit and they have paid the price. The

most drama stemmed from the initial exhibit at the Museum of the Moving

Image in New York. After there was violence and threats to safety, the

museum shut down the exhibit. However, they removed the exhibit without

telling the artists, LaBeouf, Turner, and Ronkko. This led to a tweeted

response posted by LaBeouf (@thecampaignbook).

Museums Participants

Collaborators Fans

Stakeholders

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The museum continued to cite public safety as their number one

concern, but the artists stated that they had told the museum multiple times

about their concerns and that the participants needed a safe place to

perform. They claim that the museum ignored them every time.

Later, Councilman Jimmy Can Bramer, chairman of the Council’s

Cultural Affairs Committee said that after the way LaBeouf behaved during

this exhibit and represented the city of Astoria, he was no longer a fan and

would not be supporting any of his movies (Bellafante, 2017).

Other museums made statements and all cited public safety as the

reason they shut down the exhibit (Levy, 2017). The museums that took part

in this exhibit seemed to be excited about the message, but the exhibit in

action took on a different form than intended. The artists did not make many

statements in return on the issues at hand, but merely reported when the

livestream was up or down.

LaBeouf seemed to show a lack of interest in safety of the public

during the exhibit, which greatly distressed the museums (especially the

Museum of the Moving Image). They felt as if LaBeouf was reckless and

uncaring for the participants. They hired police to come protect participants,

but wanted LaBeouf and partners to do something as well. They say

hindsight is 20/20 – but the museum would have not taken on this project if

they knew the exhibit would have produced so much hate and disruption. In

the end, LaBeouf called out the museums, blaming them for abandoning the

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project. All the museums want at this point is an apology - the public safety

hazards happened because of the exhibit and LaBeouf’s presence.

Participants

Next are the participants of the exhibit. They were willingly

participating in the artwork under the impression it would be a peaceful

demonstration in defiance of the normalization of division. They had no idea

they would be subject to hate from neo-Nazis. They had no idea that Shia

LaBeouf would initiate aggressive behavior and get arrested. But even when

he was arrested, the participants were supportive of him and his movement

stating, “I think it’s an awesome project, I think it’s a peaceful project.” And

on his arrest, “We’ve been here with him [LaBeouf] a couple of times and he

has been nothing but nice to every single person” (ABC7NY, 2017).

For these stakeholders, some safety precautions should have been put

in place by the museums so that they could participate in a safe and

responsible way. As mentioned before, with the highly aggressive political

season, hosting a politically motivated art exhibit was bound to have some

aggressors. The participants mostly feel that LaBeouf is doing a good thing

by bringing awareness to the issue of division. However, they do want safety

and they do want answers to why LaBeouf was arrested and why neo-Nazis

are showing up to a peaceful exhibit.

Collaborators

Perhaps less obvious stakeholders are LaBeouf’s own collaborators,

Turner and Ronkko. Whatever LaBeouf does, whatever he says, or posts

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online comes back to reflect them. They have a shared Twitter and

Instagram, but they are both under LaBeouf’s name. Anything that LaBeouf

does can affect their future and their own credibility as artists. Whether they

want to produce exhibits like this for the rest of their lives or become actors

themselves, this will affect employer’s and the publics’ perception of them.

It’s easy to think that with a celebrity on your side, you will get publicity and

media recognition for your projects. That could have been their initial

thought, but with a person like LaBeouf as a partner, you can’t really predict

what he will do next or how the public will take it – potentially damaging your

own reputation the same as LaBeouf is damaging his own.

Despite the potential reputation damage, Turner and Ronkko have no

made a statement on behalf of themselves. All statements given by The

Campaign Book social media accounts are attached to all three of their

names, giving the impression that they fully support LaBeouf and everything

he has said and done during this project. Any films that Shia participates in

are also stakeholders because his actions could affect the profit of the film

and the reputation of anyone involved.

While LaBeouf’s fans don’t play a huge role in the He Will Not Divide Us

project, they do impact his career and reputation. Without his fans, he won’t

be able to make money, go to red carpet events, or be able to get media

attention for his art projects like this one. His fans are the driving force

behind his career. So what happens if they don’t like what he is doing with

his life or his career? They may turn their backs on him. In this case, some

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people don’t agree with the He Will Not Divide Us project. This has an

impact on his reputation and career, which will be examined later.

Objectives and Key Messages

LaBeouf’s biggest downfall throughout this crisis is his lack of

communication. He does not release messages in his own name and he

does not participate in interviews. Instead, he hides behind his social media

and the new persona he has created – the “I Am Not Famous” guy. But this

lack of communication is perhaps the biggest reason for his image

destruction during the He Will Not Divide Us project.

From the beginning, LaBeouf, Turner, and Ronkko knew this issue

would be controversial. The political season was highly involved and the

public was filled with hate and fear. The first bold (and incorrect) move

LaBeouf took was to align his brand with the most controversial issue of the

moment. Becker (2013) states, “Celebrities very carefully select which

issues to champion, primarily bringing visibility to only the most politically

uncontroversial issues – albeit with some exception” (p. 2). Shia LaBeouf

seems to be the exception.

Blame

At the start of the He Will Not Divide Us exhibit, LaBeouf’s twitter only

tweeted the words, “HE WILL NOT DIVIDE US” (see Appendix B). This

happened nearly once per day in January 2017. While stakeholders had

questions for LaBeouf, for example about public safety, those questions were

ignored entirely and instead pushed onto the museums. LaBeouf and his

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partners released a short statement, “From the outset, the [Museum of the

Moving Image] failed to address our concerns about the misleading framing

of our piece as a political rally, rather than as a participatory performance

artwork resisting the normalization of division” (Bryant, 2017). In this

statement, LaBeouf and his partners take no responsibility and place it all on

the museum – this demonstrates a lack of concern for public safety and only

a concern for their art.

As mentioned earlier, the museum blamed LaBeouf and partners for

the lack of concern for public safety. Perhaps LaBeouf’s statement about the

museum was a strategy to attack the accuser. Benoit (1995, p. 78) states,

“If the credibility of the source of accusations can be reduced, the damage to

one’s image from those accusations may be diminished.” LaBeouf attacked

the museum’s concern for safety the same way they attacked him and the

exhibit. This action did not solve anything and stakeholder questions still

remained.

Because of the lack of communication from the project creators

themselves, the museums began releasing statements to address concerns.

Thus, placing blame on LaBeouf and his partners. The Museum of the

Moving Image stated, “Over the course of the installation, there have been

dozens of threats of violence and numerous arrests, such that police felt

compelled to be stationed outside the installation 24 hours a day, seven days

a week” (Deerwester, 2017). In another statement they point to another

reason for shutting down the exhibit being LaBeouf’s arrest.

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Inconsistency

However, once LaBeouf was arrested and gunshots were reported

nearby the group released another statement on twitter, “We have taken the

stream down after shots were reported in the area. The safety of everybody

participating in our project is paramount.”

To the public, this statement was contradictory to previous actions of

LaBeouf. He was filmed attacking someone participating (granted, it was in

opposition to the exhibit) and was arrested for the assault. This does not

reinforce the statement that “safety is paramount.” To maintain credibility,

you must remain consistent. Coombs (2007, p. 6) explains, “Inaccuracies

make an organization look inconsistent. Incorrect statements must be

corrected making an organization appear to be incompetent.” This

statement was not consistent with LaBeouf’s actions or public perception of

the project, further diminishing his credibility.

Public Responses

In crisis communications, if you do not respond, the public and the

media will respond for you. Coombs (2007, p. 6) explains, “If the

organization having the crisis does not speak to the news media, other

people will be happy to talk to the media.” This is exactly what happened

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during LaBeouf’s art project. His lack of communication and response to

stakeholder concerns lead to questions being answered by outsiders and

more questions arising.

Social media began to reveal the extent to which the public was losing

patience with LaBeouf’s brand (see Appendix D). On March 25, 2017 a

Facebook user commented on The Campaign Book’s page, “yawn… are you

artists or trollbait now?... you are on the edge of irrelevancy right now; you

do realize that?” On March 12, 2017 a twitter user posted, “Dear

#ShiaLaBeouf if you look a little better you’ll see you are actually one of the

wedges dividing us. #HewillNotDivideUs he is you.” While it’s typically best

to stay out of social media arguments, the lack of information from LaBeouf

and partners directly correlates to the attacks and questions coming from

social media.

Avoidance

Perhaps the most interesting and confusing segment of LaBeouf’s

project is when they shifted from a participatory livestream to a livestream

of a flag. This was a good move because it showed they actually did care

about public safety, but it did not solve their problem of Trump supporters’

negative responses. Instead, they took a stance of avoidance. Hallahan (p.

43) says, “Although avoidance or deferral of contact is possible, it is unlikely

that any self-respecting activist group would acquiesce so easily.” They

continued to move the project from place to place, each time losing support

and interest. Despite their efforts, they were not able to avoid those in

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opposition to the project – in every location; the flag was found and

removed, halting the project. During the livestream of the flag, LaBeouf and

partners made no effort to answer any stakeholder questions or concerns.

This leads to another rising issue – How long will the public stay interested

before this unpredictable behavior gets old?

Use of Owned Media

While the project developed a website for the livestream (see Appendix

E), it was not adequately used to communicate with stakeholders. The

stream was removed multiple times and the website became inactive during

the short periods of finding new partners to host the project. Stakeholders

(LaBeouf’s fans, participants, agitators, museums) did not have a specific

place to look for answers to their questions. However, Coombs (2007, p. 4)

explains, “An organization may not want to publicize the crisis by placing

information about it on the website. This assumes the crisis is very small

and that stakeholders are unlikely to hear about it from another source.”

While Coombs has a point, if that was LaBeouf’s intention by not providing

information about the project’s changes on the website, it was ineffective.

The news got out about LaBeouf attacking a participant and getting arrested.

News got out about the project moving locations multiple times due to public

safety hazards. This crisis was not hidden; the media made sure it was a

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public issue. By not providing details of these events on the website, they

didn’t have a voice in what the media said and how the public responded.

Impact on LaBeouf’s Career

The most telling sign that LaBeouf’s recent endeavors have had a

negative effect on his brand is the recent debut of “Man Down” in the UK.

The movie is an indie film and only showed in one theatre during the

weekend of April 1, 2017. Only one person bought a ticket for the film –

meaning it made only seven euros total in box office sales. When this

happened, the media caught on – headlines like, “Shia LaBeouf’s Latest Film

Sold Exactly One Ticket at the UK Box Office,” started appearing. There are

other well-known actors in the indie film, “Man Down,” but they were

completely overshadowed by LaBeouf and his increasingly negative

reputation (Desta, 2017).

Ilicic and Webster (2014) state, “Focusing predominantly on the

celebrity distracts consumers from establishing a strong associative link

between the celebrity and the brand” (p. 1042). Because LaBeouf’s name

had been in the news for negative reasons preceding the UK release of Man

Down, his negative brand attached itself to the movie and deterred

consumers from going to see it.

It’s not hard to see that the same thing happened throughout the

entirety of the “He Will Not Divide Us” project. From the beginning when

LaBeouf was arrested, his image became a negative representation of the

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project. His celebrity image overshadowed the project turning it into an

Internet meme like much of his other work.

Today the He Will Not Divide Us project is halted and shows no signs of

reviving. This is the method of concession – the group in opposition to the

project got what they want and the project has shut down. The clear lack of

consideration of stakeholders and minimal communication ultimately led to

the downfall of LaBeouf’s project and deeply hurt his personal brand.

Implications

Throughout LaBeouf’s career, he has seen ups and downs, but it’s

important to note those waves of popularity are completely controlled by the

public – by the fans. Popovich (n.d) states, “People don’t control their own

fame.” LaBeouf is an actor. He had established his brand from the time he

was on Disney Channel to the time he was in Transformers. When he

decided to try to change that with the “I am not famous anymore” stunt, it

was too late.

Threat of Irrelevance

Shia LaBeouf has become known for his unusual behavior. He is

unpredictable and he doesn’t follow the status quo. However, it does seem

that his behavior is becoming less and less shocking. With each new project,

the public loses interest. While the “I Am Not Famous” stunt was surprising,

when LaBeouf is consistently trying to shock the public, his unpredictable

behavior becomes predictable and in turn, boring.

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LaBeouf and his partners tried to keep the He Will Not Divide Us

project alive by moving it from place to place – each time with the same

response. In the end, the excitement of the exhibit had dissolved.

How long will it be before LaBeouf’s unpredictability becomes

irrelevant? Will people get bored and will LaBeouf finally get his wish to not

be famous anymore? While these things can’t be predicted with certainty, if

LaBeouf doesn’t find himself soon, his unpredictable behavior will become

exhausting for his fans and followers and he will fade into irrelevancy.

Dissonance

LaBeouf tried to take his fame into his own hands, but as seen, the

public has control. He has tried to become a performance artist, but is still

seen as the famous actor. By trying to shift his own brand, it has created

dissonance within his fans. They don’t know if he is the beloved actor from

Holes, or if he is the meme sensation screaming, “Just do it!”

When stakeholders of any kind feel dissonance, whether it’s a product

or a person, they seek to relieve the negative feelings associated with it. If

it’s a product, they may return it, but it’s a little different when it comes to a

personal image or reputation – you can’t return a person.

Consumers can take a couple different approaches. They can call for

LaBeouf to return to how he was before or they can turn their backs on him.

Maybe early on stakeholders were sticking by his side, rooting him on, but as

he showed no signs of changing, they abandoned him. The evidence

appeared clearly during the weekend of April 1, 2017 when only one person

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viewed LaBeouf’s movie, Man Down, on its opening weekend in the UK

(Desta, 2017).

The Film Industry

This all ties into the larger implication for the film industry in general.

Because people don’t control their own fame, they must realize their actions

are up to complete criticism and interpretation from the public. Celebrities’

careers are in the hands of the stakeholders. This does not stop them from

becoming politically engaged.

Many celebrities take stances on political and social issues like Meryl

Streep, Ashton Kutcher, and Angelina Jolie. Recently, Meryl Streep gave a

speech referencing the actions of President Donald Trump. Many people

were offended by it stating they would never support her movies again; she

was never that great of an actress, and most notably that she isn’t a

politician so she shouldn’t speak about political issues. Becker (2013, p. 14)

states, “receptivity may depend on the perceived credibility of the celebrity

source and whether viewers believe the celebrity has acquired enough

‘standing’ or expertise on the given issue.” After Streep’s speech it was

clear to see that many viewers didn’t believe she was credible enough to

speak on that topic. The same thing happened to LaBeouf during the He Will

Not Divide Us project and may happen to many more celebrities.

Moving forward, LaBeouf and other celebrities must realize they can’t

control their own fame. Celebrities have to make that choice for themselves

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– do I join a political movement and potentially harm my career, or do I stay

silent? Either way, the stakeholders have the final say in what happens to a

celebrity’s brand, image, and reputation.

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AppendixAppendix A – “Just Do It!” Performance Transcript

“Do it // Just do itDon't let your dreams be dreams // Yesterday you said tomorrow So just do it // Make your dreams come trueJust do it // Some people dream of successWhile you're gonna wake up and work hard at it //Nothing is impossibleYou should get to the point // Where anyone else would quitAnd you're not going to stop there // No, what are you waiting for?Do it // Just do itYes you can // Just do itIf you're tired of starting over // Stop giving up.”

Appendix B – “He Will Not Divide Us” Tweets Jan. 14 – Jan. 19

Appendix C – Public Response (1 and 2 – Twitter, 3 – Facebook, 4 -

Instagram)

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1

2

3

4

Appendix D – Hewillnotdivideus.com

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