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The role of celebrities
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One of the most noticeable aspects of the entertainment industry today is the prevalence of the celebrity. In any entertainment medium whether it be music, print media or the film industry, celebrities can be seen. Celebrities are often the face of the product as well, and so they are what draws the consumer in, largely because of the sway the Celebrity has over the public. Celebrities are a rather intriguing twentieth century invention, and it is the goal of this essay to look at how a person becomes a star in the show business world, how they are marketed to an audience, and as the remarkable bond with the audience that these celebrities cultivate through their marketing and press that makes the audience want to see these people on the big screen and in turn pay for the ability to see their stars.
Celebrities invade all aspects of the viewers life. They appear on newsstands and ads, on the television and the big screen, and even on the news. Gossip for regular people may stem around and incident in their favourite celebrities life. Celebrities did not always have such an integral role into the lives of those they entertained, however. Of course there have been many "celebrity" types in history, mostly notable historical figures like those in politics or in powerful positions. These celebrity entertainers were not something that translated to the early cinema however. Early cinema producers and studios did not give their actors credits, nor did they release their names to the public viewing audiences. the figures on the screen remained largely a mystery to the early film going audience, but the public wanted to know who these people that they watched and admired were .
There was an audience ready to know who they were watching...
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...necessary in the film industry. They are able to market the films they make to the audience based on their star power and the amount of interest they garner from the public. A star must work within the confines in the industry to make it, but once they are in, they rely on the good will of the public who often want to both emulate and know the stars whom the worship on the big screen, often leading to the star becoming a part of the audiences life. Stars are born on the whims of their audience.
Works Cited
Dyer, Richard. Stars. Middlesex London: British Film Institute, 1979.
Fowles, Jib. Starstruck: Celebrity Performers and the American Public. Washington, USA: The Smithsonian Institution, 1992.
Holmes, Sean P. "The Hollywood Star System and the Regulation of Actors' Labour, 1916-1934 Author(s): Sean P. Holmes." Film History.Vol.12, no. 1 (2000): 97-114.
Eckstein, Arthur. “The Hollywood Ten in History & Memory.” Film History. 2004. Web. 16 Jan.
The stars, particularly Hollywood stars, made a huge contribution to attracting vast numbers of people to the cinema.
A celebrity is not a person known for his/her talent or achievement, but an individual recognized for his/her reputation created by the media. The phase of stardom is slippery, and media may choose to represent celebrities varying from exaggerated admiration to mockery. The three texts chosen, movie "Sunset Boulevard", feature article "Over the Hilton" and television show "Celebrity Uncensored Six" are texts presenting different perception of celebrities than their usual images - either corrupted by the encircling media, overloads oneself with self-indulgence, or just mocks celebrity in a broad spectrum. Such media items empower and impresses the audience by perceiving celebrities as people who pay the price of privacy to gain well knowness, signifying the vanity of stardom from the commonly accepted images.
A new edition to the course lineup, this week's film classic, Sunset Boulevard. This film will focus on the culture and environment of the Hollywood studio system that produces the kind of motion pictures that the whole world recognizes as "Hollywood movies." There have been many movies from the silent era to the present that either glamorize or vilify the culture of Hollywood, typically focusing on the celebrities (both in front of and behind the camera) who populate the "dream factories" of Hollywood. But we cannot completely understand the culture of Hollywood unless we recognize that motion pictures are big business as well as entertainment, and that Hollywood necessarily includes both creative and commercial
The star system was an important part of the Studio System in classical Hollywood cinema. From the 1910s, stars were born. Studios create new personas, new names and new backgrounds for the stars. A new image, whether or not it had anything to do with how the person really was in real life, would be invented for the new stars. The stars would be distinctively different and moviegoers would be able to recognise them individually. The Hollywood studios, that the stars are under contract with, managed their publicity, roles, lifestyles and even fan clubs. During the classical Hollywood period, the stars themselves did not have much say in the films that they appear in. The companies would choose the role they deem most suited to boost their popularity.
Many people might say that stars are merely a product of the Hollywood system needing to make a profit; Hollywood manufactures a product and creates the demand for it. A star's image is processed through advertisements and promotions and has little to do with what the audience wants and needs from entertainment. There is a widespread mentality that any Average Joe can become a star with enough resources backing him up. Richard Dyer points out, however, that even movies full of stars fail, and stars can and do fall out of fashion (12). A star's economic worth is not invulnerable to audiences' opinions. The audience isn't so easily controlled.
McCrisken, T. B., & Pepper, A. (2005). American History and Contemporary Hollywood Film. New Brunswick, New Jersey: Rutgers University Press.
Marshall P. David (1997). Celebrity Power; Fame in Contemporary Culture. May 16, 2010. Electronically retrieved from
In a world where billionaires and celebrities can have more influence over the public than government, the word power has become interchangeable with success. Although many of us have fantasized of our lives if we were famous, the majority of the population have given up on the notion of becoming famous, and have become more realistic towards future dreams and desires. However, what qualities drive people of fame to do things that keep their name out in the eye of the public? People desire power. Genuine power is the ability to influence.
The star text of a celebrity can help to decipher their image and transitions they may undergo. In order to better understand these transitions, one must know the definition of a star text. A star text is the sum of everything we affiliate with celebrities, which includes their body of work, promotion, publicity, and audience participation (Jackson, 08/09/16). One must note that “celebrity doesn 't happen because someone has extraordinary qualities – it is discursively constructed by the way in which the person is publicised and meanings about them circulate” (O 'Shaughnessy and Stadler 424). Destiny Hope Cyrus, “an American singer and actress, became a sensation in the television series
The entertainment business started booming, producing legendary films starring well-known actors and actresses; like Bing Crosby, Clark Gable, Josephine Baker, and Jimmy Stewart. Grace Kelly quickly rose to fame because she captured the hearts of many and raised the standard of a typical woman’s life. Her recherché and flawless self-confidence launched Grace Kelly into the exciting world of fame, Hollywood! Grace Kelly proved to be an outstanding female figure that snatched loving hearts of fans through her early life experiences, her time in Hollywood, and her successful royal wedding.
In his article Stars as a Cinematic Phenomenon, he used the ‘photo effect’ conception of Roland Barthes to examine the present/ absent paradox of stars. He proposed influential qualitative distinctions in between stardom in films and television. He argued that ‘Stars are incomplete images outside the cinema: the performance of the film is the moment of completion of images in subsidiary circulation, in newspapers, fanzines, etc. Further, a paradox is present in these subsidiary forms. The star is at once ordinary and extraordinary, available for desire and unattainable. This paradox is repeated and intensified in cinema by the regime of presence-yet-absence that is the filmic image’(1992). Therefore, the impractical mode of ‘this is was’ on nature of stardom ‘awakens a series of psychic mechanisms which involve various impossible images’, such as ‘the narcissistic experience of the mirror phase’(1992). Ellis then continued to indicate televisual stardom, which is more current or ‘immediate’ than cinematic fame. He argued that ‘What television does present is the “personality”. The personality is someone who is famous for being famous and is famous only in so far as he or she makes frequent television appearances… In some ways, they are the opposite of stars, agreeable voids rather than sites of conflicting meanings’. Ellis’ thesis definitely points out the differences between cinema and television fame, due to the multimedia and transmedia of current era implies a much more diverse and unpredictable relationship in between stars’ images in any kind of
We are part of a generation that is obsessed with celebrity culture. Celebrities are distinctive. Media and consumers alike invented them to be a different race of super beings: flawless, divine and above all the real moral world. In a 1995 New York Times article “In contrast, 9 out of 10 of those polled could think of something
Movie stars. They are celebrated. They are perfect. They are larger than life. The ideas that we have formed in our minds centered on the stars that we idolize make these people seem inhuman. We know everything about them and we know nothing about them; it is this conflicting concept that leaves audiences thirsty for a drink of insight into the lifestyles of the icons that dominate movie theater screens across the nation. This fascination and desire for connection with celebrities whom we have never met stems from a concept elaborated on by Richard Dyer. He speculates about stardom in terms of appearances; those that are representations of reality, and those that are manufactured constructs. Stardom is a result of these appearances—we actually know nothing about them beyond what we see and hear from the information presented to us. The media’s construction of stars encourages us to question these appearances in terms of “really”—what is that actor really like (Dyer, 2)? This enduring query is what keeps audiences coming back for more, in an attempt to decipher which construction of a star is “real”. Is it the character he played in his most recent film? Is it the version of him that graced the latest tabloid cover? Is it a hidden self that we do not know about? Each of these varied and fluctuating presentations of stars that we are forced to analyze create different meanings and effects that frame audience’s opinions about a star and ignite cultural conversations.
Have you ever think about the influences of celebrities that affect in people life. Celebrity is a kind of pop-culture that combines between interpersonal communication and media, and it creates desires from the people assumption or expectation. Celebrities are the important tools to attract audiences. The media scholars produce the celebrity content from what people expect from life. Celebrities may drive the directions of living such as habits, tastes, attention and ambition among people (Turnere). Nowadays, celebrities are all around us. They are one of the important people who can influence the media such as movies, drama, music magazines, news or even represent the nation. According to the William’s note celebrities are one part which