"I had no idea what makeup to put on. I did not like my get-up as the press reporter [in Making a Living]. However on the way to the wardrobe I thought I would dress in baggy pants, big shoes, a cane and a derby hat. I wanted everything to be a contradiction: the pants baggy, the coat tight, the hat small and the shoes large. I was undecided whether to look old or young, but remembering Sennett had expected me to be a much older man, I added a small moustache, which I reasoned, would add age without hiding my expression. I had no idea of the character. But the moment I was dressed, the clothes and the makeup made me feel the person he was. I began to know him, and by the time I walked on stage he was fully born." Chaplin 1964, pp.154 One would not think that the two would differ significantly. According to Marshall (2002) the more precise way of describing the surfacing of the film star is to see that the film industry was in the process of shaping its categorical arrangement in the entertainment industry (Marshall 2002, p. 154). He believes that the film industry was part of an already recognised and booming cultural industry that held its own system of dame, prestige and celebrity (Marshal 2002, p. 154). Marshall (2002) found that the mass circulation of stars of front cover became an act of glamour in the industry (Marshall 2002, p. 154). From this, is it possible to say that celebrities are eventually stars or vice versa or are they both independent in nature? “The development of the star system thus is most indicative of a cultural industry attempting to capture a certain legitimacy and cultural space.” (Marshall 2002, p.154) Marshall (2002) stands by the idea that the function of film stars have acted as a representation of the independent individual in contemporary society. This function has critical value which has “demonstrated and reinforce the ideology of potential that is house in all member of capitalist culture” (Marshal 2002, p. 155). For example, by 1919 a group of film stars included Charlie Chaplin, Mary Pickford and Douglas Fairbanks who stipulated contracts and salaries (Marshall 2002, p. 155). This brings the idea of film stars’ transformation to the economic centre of film production (Marshall 2002, p. 155). From this, it makes me question, when film stars enter into a contract, does the star position the value of the film and its success or would the film expose the star to gain better recognition?
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