Core Post

I wrote a paper last semester about The Perils of Pauline where I discussed the beginnings of the star system. It was fascinating to learn about the ways in which gossip and obsessions with stars have lingered through all technological advancements that have occurred since 1914, when the serial first ran. These serials were targeted for women and always showed a female heroine, the names of their character were often either same or similar to their real name. Upon reading Laplace’s article on “Now, Voyager” similar ideas were discussed, particularly the distinction between the star and their “real life” persona. The blurred lines between what was simply a character played and what was the true personality of a star, has encouraged our increased deep involvement with film. The insight into the components of a “woman’s film”, popular during the 30’s and 40’s, shows the ways in which consumerism was tied to film since its beginnings. The Eckert article provided the context needed to understand the negotiation and incorporation of “tie ins” to market films across various productions. The objectification of women and the commodification of their interests is what drove, female centered narratives to become prominent. The focus on beauty and appearance was not only a selling point, but also a component that bled into the lives of real women and their understanding of womanhood. Bette Davis’ character, Charlotte Vale, is deemed neurotic and her illness is tied to the way she looks and her “repressed sexuality” as Laplace discusses. The ways Vale gets better is by undergoing a physical transformation, through more fashionable and glamorous clothes. This “metamorphosis” as Laplace calls it, represents the necessity to to give into patriarchal and consumer cultures in order to discover one's own identity. The “social self” is fueled by the ways in which others perceive, where popularity often equals happiness. The film follows the themes of women’s films by delving into familial relationships as we see with Vale and her mother, as well as with romantic ones that she pursues with Jerry. The recognition of women as a key marketing group, shifted the ways in which actors were portrayed and also the stories that were shown. Dyer discusses the contradiction of stardoms due to the “stars-as-ordinary and the stars-as-special”, in “Now, Voyager” we see how these two concepts can be used simultaneously. Bette Davis was regarded for being independent and an ordinary working woman, but she was also one of the highest paid actors late 30’s and early 40’s. This shows how a star's ordinary qualities also were what made them special and spectacular on screen.