a study of richard dyer’s work on stars a consideration of richard dyer’s work on stars and star...

A study of Richard Dyer’s work on STARS

A consideration of Richard Dyer’s A consideration of Richard Dyer’s work on stars and star statuswork on stars and star status

Richard Dyer -STARSRichard Dyer -STARS

““stars do not exist outside of stars do not exist outside of such texts [films]” such texts [films]”

social phenomenonsocial phenomenon

Stars as a Stars as a social phenomenonsocial phenomenon - how stars - how stars are understood as fulfilling a social and are understood as fulfilling a social and cultural functioncultural function

Consider Stallone’s roles in the Rambo films. Was he winning the war in Hollywood which the USA lost?

imagesimages

Stars as Stars as imagesimages uses semioticsuses semiotics and cultural studiesand cultural studies to ask about the to ask about the social meaningssocial meanings of of

stardom in general and specific stars in stardom in general and specific stars in particularparticular

and how these meanings are produced or and how these meanings are produced or constructed.constructed.

How do stars acquire How do stars acquire social meaningssocial meanings, not only , not only through their films but also through other through their films but also through other agencies involved in the production of a star’s agencies involved in the production of a star’s imageimage

studio promotion, studio promotion, fan magazines, fan magazines, publicity in newspaperspublicity in newspapers popular journals, popular journals, film reviewsfilm reviews critical articles? critical articles?

signssigns

Stars as Stars as signssigns is about the problems is about the problems associated with a star and a particular associated with a star and a particular representation of a character in a film and representation of a character in a film and how the two interact. how the two interact.

E.g. Arnold Schwarzenegger in E.g. Arnold Schwarzenegger in Kindergarten Cop Kindergarten Cop or Clint Eastwood or Clint Eastwood performing with an orang-utanperforming with an orang-utan

ConstructionConstruction Dyer starts by Dyer starts by establishing the basic principles of establishing the basic principles of constructednessconstructedness

and places this in an analysis and places this in an analysis of its place within of its place within thethe

relations of production and consumptionrelations of production and consumption this allows us to move forward to the this allows us to move forward to the analysis analysis

proper of proper of star imagesstar images and the and the cultural specificity of their cultural specificity of their

meanings/effectsmeanings/effects we can then use this knowledge of the stars in we can then use this knowledge of the stars in

the the analysis of filmsanalysis of films in which they appear. in which they appear.

Construction 2Construction 2

STAR

Social values

Film industry

audiencesactor

Agents of film studios

The Star Paradigm

Are there conflicting aims or do they all coalesce in the production of a star?

Stars as constructionsStars as constructions

……a star isa star is an image (not a real person)an image (not a real person) that is constructed (as any other aspect of that is constructed (as any other aspect of

fiction is)fiction is) out of a range of materials (e.g. out of a range of materials (e.g.

advertising, magazines, etc. as well as advertising, magazines, etc. as well as films)films)

Marlon BrandoMarlon BrandoIf we look at these Marlon Brando publicity shots,we can perhaps establish what star ‘image’ was being perpetuated

Marlon BrandoMarlon Brando

One-eyed Jacks, 1961One-eyed Jacks, 1961


The Wild One, 1954The Wild One, 1954


On the Waterfront, 1954On the Waterfront, 1954


Guys and Dolls, 1955Guys and Dolls, 1955


On the Waterfront, 1954On the Waterfront, 1954

Real?Real?

Not one of these images is the ‘truth’Not one of these images is the ‘truth’ there is a gap between there is a gap between what is what is constructedconstructed as the star image as the star image and what other and what other possibilitiespossibilities in reportage in reportage

about the star which somehow never get about the star which somehow never get to be a real emphasis in the image.to be a real emphasis in the image.

Examples of star construction Examples of star construction study background information on the business of study background information on the business of

creating a star looking at the institutional factorscreating a star looking at the institutional factors the role of the agent in placing his/her clients and the role of the agent in placing his/her clients and

casting agenciescasting agencies the studio’s promotion department in the studio’s promotion department in

establishing/promoting the star imageestablishing/promoting the star image this department would work through direct promotion, this department would work through direct promotion,

especially the photography department producing pin-ups for especially the photography department producing pin-ups for fan magazines, gossip columnists and the pressfan magazines, gossip columnists and the press

the search for ‘vehicles’ for the furtherance of the starthe search for ‘vehicles’ for the furtherance of the star the analysis of box office receipts, opinion polls and the analysis of box office receipts, opinion polls and

critics’ reviews in order to determine the direction of critics’ reviews in order to determine the direction of the star image the star image

Ursula AndressUrsula Andress

Dr. No (1962)Dr. No (1962)

The impact of Ursula Andress’ first appearance, emerging from the sea with her conch, basically set her star image.

Fun peopleFun people

The publicity photos for Dr. No set Connery and Andress up as ‘fun people’.

Or…Or…

Collect a range of materials or ‘media texts’ Collect a range of materials or ‘media texts’ through which star image is established to through which star image is established to demonstrate where those ‘images’ are produced demonstrate where those ‘images’ are produced for public consumption.for public consumption.

These materials would includeThese materials would include studio promotion and publicity stills,studio promotion and publicity stills, fan magazine articles and pin-ups,fan magazine articles and pin-ups, newspaper reports,newspaper reports, features and reviews,features and reviews, and stills from the stars’ filmsand stills from the stars’ films and a couple of extracts from the films themselves. and a couple of extracts from the films themselves.

ArnieArnie

Let’s use Schwarzenegger as amodern example of this collectionprocess

Roger Ebert review of T2Roger Ebert review of T2

Schwarzenegger's genius as a movie star is to Schwarzenegger's genius as a movie star is to find roles that build on, rather than undermine, find roles that build on, rather than undermine, his physical and vocal characteristics. Here he his physical and vocal characteristics. Here he becomes the straight man in a human drama - becomes the straight man in a human drama - and in a human comedy, too, as the kid tells him and in a human comedy, too, as the kid tells him to lighten up and stop talking like a computer. to lighten up and stop talking like a computer. After the kid's mother is freed from the mental After the kid's mother is freed from the mental home, the threesome work together to defeat T-home, the threesome work together to defeat T-1000, while at the same time creating an unlikely 1000, while at the same time creating an unlikely but effective family unit. but effective family unit.

Rolling Stone review of T2 (extract)Rolling Stone review of T2 (extract)

Schwarzenegger has fun saying things like "Chill Schwarzenegger has fun saying things like "Chill out, dickwad" and "Hasta la vista, baby." But the out, dickwad" and "Hasta la vista, baby." But the star's quips are predictable, the stock in trade of star's quips are predictable, the stock in trade of an icon for hire. It's Cameron's show; he's the an icon for hire. It's Cameron's show; he's the reigning king of movie pow, with dark wit and a reigning king of movie pow, with dark wit and a poet's eye for mayhem. T2 cost a reported $100 poet's eye for mayhem. T2 cost a reported $100 million, and you can actually see where the million, and you can actually see where the money went. The visual and makeup effects are money went. The visual and makeup effects are state-of-the-art, making Terminator 2 the big-state-of-the-art, making Terminator 2 the big-daddy action entertainment of the summer.daddy action entertainment of the summer.

Business Data for T2 (IMDB)Business Data for T2 (IMDB) Business Data forBusiness Data for Terminator 2: Judgment Day (1991) Terminator 2: Judgment Day (1991) Budget Budget $100m (USA)$100m (USA)

Opening Weekend Opening Weekend $52.306m (3 July 1991) (USA)$52.306m (3 July 1991) (USA)

Gross Gross $310m (Non-USA)$310m (Non-USA) £18.179m (UK)£18.179m (UK) $204.843m (USA)$204.843m (USA) $514.8m (worldwide)$514.8m (worldwide)

Admissions Admissions 3,773,320 (Spain)3,773,320 (Spain)

Theatrical Rentals Theatrical Rentals £8.948m (UK)£8.948m (UK) $112.5m (USA)$112.5m (USA)

Filming Dates Filming Dates October 1990 - April 1991October 1990 - April 1991

Copyright Holder Copyright Holder Carolco Pictures Inc. - Carolco International N.V. Carolco Pictures Inc. - Carolco International N.V.

Biography for Biography for Arnold SchwarzeneggerArnold Schwarzenegger

Birth Name Birth Name Arnold Alois Schwarzenegger Arnold Alois Schwarzenegger ----------------------------------------------------------------------------------------------------------------------------------------------------------------

Nickname Nickname Arnie Arnie Austrian Oak Austrian Oak Conan the Republican Conan the Republican Styrian Oak Styrian Oak ----------------------------------------------------------------------------------------------------------------------------------------------------------------

Height Height 6' 2" 6' 2" ----------------------------------------------------------------------------------------------------------------------------------------------------------------

Mini biography Mini biography Growing up in a small, isolated village in Austria, he turned to bodybuilding as his ticket to a better life. After Growing up in a small, isolated village in Austria, he turned to bodybuilding as his ticket to a better life. After

conquering the world as the greatest bodybuilder who ever lived, he went to America to make his name in motion conquering the world as the greatest bodybuilder who ever lived, he went to America to make his name in motion pictures. Hampered by his impossible name and thick accent, success eluded him for many years. It wasn't until pictures. Hampered by his impossible name and thick accent, success eluded him for many years. It wasn't until he found the tailor- made role of Conan that he truly came into his own as a performer. A succession of over-the-he found the tailor- made role of Conan that he truly came into his own as a performer. A succession of over-the-top action films made him an international box office star. By alternating violent action films with lighter, comedic top action films made him an international box office star. By alternating violent action films with lighter, comedic fare, he has solidified his position as one of the most popular--if not the most popular--movie stars in the world.fare, he has solidified his position as one of the most popular--if not the most popular--movie stars in the world.

WorkWork

Who is Arnold Schwarzenegger?Who is Arnold Schwarzenegger? How is he a star?How is he a star? Who constructed him?Who constructed him? What does he mean?What does he mean? Trailer for Trailer for T3T3

Stars in Relation to Industry and Stars in Relation to Industry and AudienceAudience

stars are:stars are: commoditiescommodities produced and consumed on the strength produced and consumed on the strength

of their of their meaningsmeanings

CommoditiesCommodities a) a) capital. capital. Stars represented a form of capital possessed by the Stars represented a form of capital possessed by the

studios. studios. Robert A. Brady sees this as part of the `monopolistic' character of the Robert A. Brady sees this as part of the `monopolistic' character of the

Hollywood industry: `...each star is to some extent a holder of a Hollywood industry: `...each star is to some extent a holder of a monopoly, and the owner of contracts for the services of a star is the monopoly, and the owner of contracts for the services of a star is the owner of a monopoly product. The majors dominate the employment of owner of a monopoly product. The majors dominate the employment of this individual monopoly talent.' this individual monopoly talent.'

b) b) investment. investment. Stars were a guarantee, or a promise, against loss Stars were a guarantee, or a promise, against loss on investment and even of profit on it.on investment and even of profit on it.

c) the market. c) the market. Stars were used to sell films, to organise the market. Stars were used to sell films, to organise the market. Alexander Walker talks of `the use of a star to stabilise audience Alexander Walker talks of `the use of a star to stabilise audience

response'.response'. Alice Evans Field writes: `Star names on the theatre marquee, above Alice Evans Field writes: `Star names on the theatre marquee, above

the title of the picture, draw' great audiences not only because of their the title of the picture, draw' great audiences not only because of their personal magnetism but also because they are symbols of certain types personal magnetism but also because they are symbols of certain types of entertainment and because they assure production efforts far above of entertainment and because they assure production efforts far above average.' average.' This This suggests how stars both organise the market and act suggests how stars both organise the market and act back upon the 'quality' of the films they are in. back upon the 'quality' of the films they are in.

LabourLabour

Bourgeois economics normally considers capital Bourgeois economics normally considers capital as wealth, but labour is important tooas wealth, but labour is important too

So a star is produced not only through the labour So a star is produced not only through the labour of the studios but through the efforts of the star of the studios but through the efforts of the star him/herself.him/herself.

In other words, there is the labour of producing In other words, there is the labour of producing the image, which, once produced, is then in turn the image, which, once produced, is then in turn raw material to be further transformed by labour. raw material to be further transformed by labour.

A model for work in this area might A model for work in this area might propose that:propose that:

a star isa star is a raw a raw material material (a living person)(a living person) who through labour (their own and others) is transformed into an who through labour (their own and others) is transformed into an

image. This image is a image. This image is a product product which is bothwhich is both a form of a form of capital capital (owned by the studio, or else by the `person' who (owned by the studio, or else by the `person' who

performs the image of the star)performs the image of the star) and a form of raw material ('concealed labour') which through further and a form of raw material ('concealed labour') which through further

labour produces products (films) that are sold (in the labour produces products (films) that are sold (in the market, market, to an to an audience)audience)

for a profit (which is the difference for a profit (which is the difference between between the cost of capital + raw the cost of capital + raw material (itself a form of labour) + labour (without which the product material (itself a form of labour) + labour (without which the product has no value) and box-office receiptshas no value) and box-office receipts

Phew!Phew!

MeaningsMeanings

Although stars and films are commodities, Although stars and films are commodities, their only `value' (i.e. what people use their only `value' (i.e. what people use them for) resides in what meanings and them for) resides in what meanings and effects they have. Stars/films sell effects they have. Stars/films sell meanings/effects.meanings/effects.

stars stars embodyembody social valuessocial values that need, or are felt to need assertion that need, or are felt to need assertion

or re-assertionor re-assertion

'embody''embody'

Stars seem actually to possess or even to Stars seem actually to possess or even to be the values in question;be the values in question;

they seem not to be cinematic they seem not to be cinematic constructions or representations of those constructions or representations of those values.values.

(Here the confusion over the star-as-(Here the confusion over the star-as-image and the star-as-person has a crucial image and the star-as-person has a crucial role).role).

`social value'`social value'

That is, widespread and shared values, attitudes, ideas about life, That is, widespread and shared values, attitudes, ideas about life, including social types, stereotypes, sex roles, etc. including social types, stereotypes, sex roles, etc.

A key issue here, always, is whether these values merely represent A key issue here, always, is whether these values merely represent what most people happen to think ('consensus') or whether they are what most people happen to think ('consensus') or whether they are values that support the particular world-view of a socially dominant values that support the particular world-view of a socially dominant group but are made to appear what most people happen to think group but are made to appear what most people happen to think ('hegemony').('hegemony').

It is in sorting through this issue that one engages with the It is in sorting through this issue that one engages with the production-consumption/ industry-audience relation, not just as production-consumption/ industry-audience relation, not just as something confined to a particular form of aesthetic commodity something confined to a particular form of aesthetic commodity production but as a fully social practice.production but as a fully social practice.

In other words, it is not just a question of working out the In other words, it is not just a question of working out the relationship between cinema and society, but rather of relationship between cinema and society, but rather of understanding cinema as a social practice that is a full part of the understanding cinema as a social practice that is a full part of the way that society itself is formed.way that society itself is formed.

`need, or felt to need'`need, or felt to need'

The reason for saying 'need or felt to need' is The reason for saying 'need or felt to need' is that there is always a danger in asserting that that there is always a danger in asserting that something is simply spontaneously `needed'; the something is simply spontaneously `needed'; the mass media also stimulate and define needs, mass media also stimulate and define needs, and these needs may have the effect of serving and these needs may have the effect of serving specific interests (e.g. of class or gender) rather specific interests (e.g. of class or gender) rather than expressing general wants.than expressing general wants.

E.g. Spike Lee films produce ‘stars’ who speak E.g. Spike Lee films produce ‘stars’ who speak for their audience’s needs,for their audience’s needs,

Or Or even James Bond even James Bond filmsfilms

`assertion, or re-assertion'`assertion, or re-assertion'

The star might reaffirm society’s views orThe star might reaffirm society’s views or serve the need to give expression to serve the need to give expression to

alternative or oppositional values alternative or oppositional values (possibly, but not always, to discredit or (possibly, but not always, to discredit or `recuperate' them), e.g. 'rebel' stars such `recuperate' them), e.g. 'rebel' stars such as Brando or Deanas Brando or Dean

The independent woman like Hepburn or The independent woman like Hepburn or Stanwyck might merely reaffirm traditional Stanwyck might merely reaffirm traditional valuesvalues

Social ValuesSocial Values what social values are embodied?what social values are embodied? with what kind of emphasis?with what kind of emphasis?

(e.g. does the image invoke notions of traction and 'time-honoured' (e.g. does the image invoke notions of traction and 'time-honoured' values, or does it offer itself as something new or 'radical'?values, or does it offer itself as something new or 'radical'?

Is it confused as to values, or clearly asserting one set of values over Is it confused as to values, or clearly asserting one set of values over against others?)against others?)

what does the expression of these social values with this kind of what does the expression of these social values with this kind of emphasis seem to speak to in the values of the society in which we emphasis seem to speak to in the values of the society in which we live'?live'?

(e.g. how far are the values in question ones that everyone gives assent (e.g. how far are the values in question ones that everyone gives assent to'? to'?

How far are they only relevant to one section of society?How far are they only relevant to one section of society? Have these values been at issue in the media or in everyday Have these values been at issue in the media or in everyday

conversation in the past year or so?)conversation in the past year or so?)

a study of richard dyer’s work on stars a consideration of richard dyer’s work on stars and star...

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