In the 1970s, academics began analyzing the phenomenon of celebrity and stardom. According to Sofia Johansson[citation needed] the "canonical texts on stardom" include Daniel Boorstin's The Image: A Guide to Pseudo-Events in America (1961) and articles by Boorstin (1971), Alberoni (1972), and Dyer (1979)[vague] which examined the "representations of stars and on aspects of the Hollywood star system." Johansson notes "more recent analyses within media and cultural studies (e.g. Gamson 1994; Marshall 1997; Giles 2000; Turner, Marshall and Bonner 2000; Rojek 2001; Turner 2004[vague]) have instead dealt with the idea of a pervasive, contemporary, 'celebrity culture'."[citation needed]
Bob Greene argues for "most of man's history...people of talent would work to create something--something written, something painted, something sculpted, something acted out--and it would be passed on to audiences." With the rise of reality TV shows, Greene points out audiences have been turned into the creators. He argues the "alleged stars of the reality shows Survivor and Big Brother, have become famous not for doing, but merely for being."[3]
You have to go through many hoops just to talk to a major celebrity. You have to get past three different sets of publicists: the publicist for the event, the publicist for the movie, and then the celebrity's personal publicist. They all have to approve you.
—Michael Musto, [4]
Greene says "You simply have to be present, in the right place at the right time." Whereas publicly famous people "were once defined as such based upon the fact their remarkable skills had brought them to the attention of the public." Greene states with reality TV, "one can become a public person just by being a person, in public."
"Celebrities often have fame comparable to royalty," claimed[citation needed] author Micha Frydman. As a result, there is a strong public curiosity about their private affairs. Celebrities may be resented for their accolades, and the public may have a love/hate relationship with celebrities. Due to the high visibility of celebrities' private lives, their successes and shortcomings are often made very public. Celebrities are alternately portrayed as glowing examples of perfection, when they garner awards, or as decadent or immoral if they become associated with a scandal. When seen in a positive light, celebrities are frequently portrayed as possessing skills and abilities beyond average people; for example, celebrity actors are routinely celebrated for acquiring new skills necessary for filming a role within a very brief time, and to a level that amazes the professionals who train them. Similarly, celebrities with very little formal education can be portrayed as experts on complicated issues.
Tabloid magazines and talk TV shows bestow a great deal of attention on celebrities. To stay in the public eye and make money, more celebrities are participating in business ventures such as celebrity-branded items including books, clothing lines, perfume, and household items.
Chapter 1 of Chris Hedges' Empire of Illusion: The End of Literacy and the Triumph of Spectacle (2009) is an extensive critique of what he calls "celebrity culture." Citing authors like Daniel Boorstin, Neil Gabler, James Bradley, and C. Wright Mills, Hegdes argues that celebrity culture is a exemplified in media exaltations of superficiality, cosmetic surgery, New Age spirituality mysticism, pop psychology, motivational speakers, success gospel evangelism, and TV shows like American Idol and The Swan. Hedges criticizes the "moral nihilism" inherent in celebrity culture, in which human beings become commodities while those who possess true power — corporations and the oligarchic elite — are veiled and rendered invisible. A family in the Rochesterian area, the Cegelskis, are known all around town because of their large family. They could be considered "celebritys" in their area because of their popularity.
