Richard Dyer's Star Theory

1. R I C H A R D D Y E R’ S
‘S T A R I M A G E’ T H E O R Y

2. According to Dyer, the terms “pop performer” and “pop star” have become interchangeable, yet
strictly speaking, in media terms, they are two separate concepts. When studying stars as media
texts/components of media texts, it is necessary to make the distinction between the two.
A pop performer is an artist who is simply known for performing pop music, whereas a pop star is
an artist who has established an identity/persona upon factors other than just their musicianship.
A large number of pop performers are referred to as pop stars simply because they are quickly
elevated to this status by their record company through a variety of methods. However, a true pop
star has a lasting significance, and has “brand awareness” amongst a wider market over a long
period of time. It’s thought that many of the artists considered to be pop stars nowadays will
disappear within a few years, as they haven’t made a sufficient sociological or cultural impact.
D Y E R’ S S T A R T H E O R Y

3. A ‘star image’ is a representation of an artist/band that is readily recognised by numerous
individuals, and used across a variety of media texts. A ‘star’ has the ability to utilise their ‘star
image’ and its cultural significance for the purpose of marketing and/or advertising to a particular
audience. Not only will this benefit whoever the artist/band is promoting, but will benefit the
artist/band by increasing their presence within society and popular culture, and possibly increasing
the size of their audience as well.
W H A T I S A ‘S T A R I M A G E’?

4. A ‘star image’ motif is a recurring theme/element used across the promotional campaigns and
live performances of the artist/band that becomes closely associated with them over time. A
motif is designed to aid an artist/band in establishing their brand image/identity within
society, and helping consumers to easily distinguish them from others. ‘Star image’ motifs can
take the form of an icon, a font, artwork, an item of clothing, a hairstyle, etc.
W H A T I S A
‘S T A R I M A G E’ M O T I F ?

5. “… a star is both ordinary and extraordinary.”
Audiences need to believe that a star bears similarities to a “real person”, and share a number qualities
found in “regular people”. However, a star must possess a trait/characteristic that is unique to them in
order to make them stand out as well.
“… a star is both present and absent.”
Stars are very much present in the everyday lives of their audiences; we discuss them socially, adopt
aspects of their style, and can even construct our identity in relation to them. Often, stars can dictate some
of our consumer habits as well. Despite their influential presence in our lives, stars are physically absent
from our lives. Instead, they are out of reach, and interacting with them is difficult.
P A R A D O X O F T H E S T A R
Dyer proposes the idea that the constructed image of a
star contains two paradoxical aspects. He states that:

6. “A star is an image not a real person that is constructed (as any other aspect of fiction is)
out of a range of materials (e.g. advertising, magazines etc. as well as films [music]).”
Although they are presented to the audience as “real people”, a star is a constructed,
artificial image, designed and created by the record company as a way of selling the
artist to their target audience. An artist’s constructed image is more likely to be
successful if they have a USP; they can easily be copied or parodied if they do. In
addition to this, a star’s image should be consistent over a long period of time.
S T A R S A S C O N S T R U C T S

7. “Stars are commodities produced and consumed on the strength of their meanings.”
A star’s image is manufactured by their record company to serve a purpose. The constructed image should
appeal to a target audience, who will respond to elements of the image by buying albums/merchandise, and
becoming fans of the artist – they generate income for both the artist and the record label.
Record companies continuously nurture and shape their stars. This is demonstrated in TV talent shows such
as “The X-Factor”, where ordinary people are groomed, styled, and coached in order to meet the standards
of record companies, and the expectations of the target audience. The companies tend to manufacture star
images that they think audiences want to see, and this leads to the “photocopied” nature of popular boy/girl
groups. However, there are groups of fans to whom the conventional star image doesn’t appeal, and record
companies will aim to make their star appear more real/believable in order to target these people.
I N D U S T R Y A N D A U D I E N C E

8. Stars are representatives of shared cultural values and attitudes, and promote
certain ideologies to their audiences. As a result, it’s often the case that stars
provide individuals with their own form of cultural thinking.
An artist’s “star quality” is enhanced by audience interest in these
values/ideologies, and by conveying beliefs/ideas/opinions that are unrelated
to their music, performers build their individual “star persona”.
Stars may be responsible for initiating fashion trends, with thousands of fans
imitating their hairstyles/clothing/make-up/etc. In addition to this, stars may
initiate or benefit from cultural discourse, and create ongoing critical
commentary, particularly on social media.
In modern society, the ideas of ‘stardom’ and ‘star worship’ are cultural values
in themselves, and society has developed an obsession with the stars
themselves; people can never get enough information about a celebrity.
I D E O L O G Y A N D C U L T U R E

9. “In these terms it can be argued that stars are representations of persons which reinforce, legitimate
or occasionally alter the prevalent preconceptions of what it is to be a human being in this society.”
At the beginning of their career in the industry, a star is considered to be a “real person”, possessing characteristics of race and gender,
and existing against a socio-historic background. The star transformation process, enforced by the record companies, turns an artist
into a construct. However, the constructed image does have foundations in the real, as it’s possible to see a star as not entirely
fictional, and as being of their time, culture, and as a product of their generation.
Stars provide their audiences with a focus for ideas of ‘what people are supposed to be like’ in modern society. The majority of stars
will conform to the societal hegemony (e.g. female stars are often slim and conventionally beautiful), but some stars will defy the
hegemony, and provide an alternative to their audiences (e.g. female stars who are considered plus-sized, but who are still loveable).
Pop stars establish their character and personality through their music and live-performances, and their first album is a striving attempt
to develop a star image immediately. They appear to have a greater degree of control over their persona; they can choose to create a
consistent image, or their work can develop over time according to cultural trends.
A pop star’s persona is constructed on the basis of a narrow text (their first album) that is continually being re-read and re-assessed,
and this may lead to ‘second album syndrome’. ‘Second album syndrome’ is when a star is unable to sustain their established persona
over a long period of time, and are unable to create a consistent account of character and personality with their second release. The
root of their persona may become confused, or it may disappear completely. A star image is an extremely fragile construct, and
therefore it must be continuously nurtured, and form as a result of a balance between the star and their individual audience.
C H A R A C T E R A N D P E R S O N A L I T Y