By Paul McDonald
Seems on the improvement and altering association of the celebrity approach within the American movie undefined. Tracing the recognition of superstar performers from the early "cinema of attractions" to the net universe, Paul McDonald explores the ways that Hollywood has made and bought its stars. via concentrating on specific historic classes, case reports of Mary Pickford, Bette Davis, James Cagney, Julia Roberts, Tom Cruise, and may Smith illustrate the foremost stipulations influencing the superstar approach in silent cinema, the studio period and the hot Hollywood.
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Extra resources for The Star System: Hollywood's Production of Popular Identities (Short Cuts)
Pollyanna was produced through Pickford's own company and distributed by UA. Whereas the established business practice in the exhibition sector was to lease prints from distributors for a fixed fee, Pollyanna was made available only on the basis of both a guaranteed base rental fee together with a percentage split of box office income. Despite complaints, exhibitors agreed to UA's terms, transforming the business model for dealings between distributors and exhibitors. During the 1920s, Pickford's career would experience rises and falls in the star's critical and financial status.
Eddie Cantor, the popular radio and film comedian, became the second president of SAG in 1933, and Fredric March, Adolphe Menjou and Robert Montgomery were elected vice-presidents. Star power could be effective.
Although actors of the legitimate theatre were hired to appear in films, in many cases the transition from stage to screen proved to be unsuccessful. Stage stars such as the musical-comedy performer Blanche Ring and comedian Eddie Foy Jr. found their work did not translate from live stage to silent screen (see McArthur 1984). The Triangle Studio closed as a result of hiring major stage names on high salaries for films which failed at the box office. Although film struggled against theatrical tradition for recognition of professional legitimacy, the growing film market provided a context in which actors could reasonably expect to work regularly and for comparatively good rates of pay.