Dear reader,
Welcome to my project page on parasocial relationships and the rise of celebrity culture during the 19th century. Below, you will find a brief explanation of what is meant by the term parasocial relationship and how print media started celebrity culture. To visualize this topic, I have created an Instagram fan account for Cora Potter, an American actress who was regularly featured in magazines such as Town Topics.
The account features posts with images of Cora Potter and an introduction for those who may not be familiar with her. It also includes excerpts from Town Topics in which she was featured, along with clarifications of the parasocial elements present in those pieces. By using Instagram as a medium, I aim to build a bridge between the emerging celebrity culture of the 19th century and the established celebrity culture of the 21st century. As outlined in the explanatory text below, celebrity culture emerged from the media and parasocial bonds/parasocial relationships are an inevitable consequence of media use. Therefore, it’s also a visualization of how they build up.
Explore the examples and head over to Instagram for more insights and the full descriptions.
To give you an idea of what parasocial relationships are, the first thing to understand is that parasocial relationships/parasocial bonds (PSB) are part of parasocial interactions (PSI). These are the interactions that occur between a recipient and the media figure. Due to the one-sided communication, it’s the illusion of a face-to-face interaction, and therefore no real social interaction, but a parasocial interaction (Schweiger). Hartmann et al. argued that it is not possible to use any media without being infected by parasocial interaction whenever a media figure is involved (Hartmann et al. 2004, S. 30). One can distinguish between different forms of PSI. The first is perceptive-cognitive PSI, which is about the perception of the media figure and connecting already existing knowledge (Schweiger). For example, reflecting on whether a well-known actor like Cora Potter is suitable for a new role. Affective parasocial interaction refers to all emotions that are directed toward the media figure or are caused by them (Schweiger). For example, if a Town Topics reader feels joy when reading the news about Cora Potter’s new role. The last form is conative parasocial interaction and refers to all visible behaviours, such as verbal expressions and physical reactions (Schweiger). For example, shouting in excitement when reading the news about Cora Potter’s new role. These are temporary reactions, but repeated PSI leads to parasocial relationships (Gleich 71ff).
First of all, it is a social surrogate – a social bond with a symbolic, rather than a real, target (Derrick, Gabriel, & Hugenberg, 2009; Gabriel, Read, Young, Bachrach, & Troisi, 2017; Hartmann, 2016). This specific kind of social surrogate is a one-sided bond with a media figure (Gabriel, Valenti, & Young, 2016). There are three possible forms of parasocial relationships. This first one is the one closest to a feeling of a real relationship. This is the case when a character is regarded as an old friend, and the fact that the relationship is mediated by media is nearly forgotten (Schweiger). Media-mediated relationships are characterized by the recipient’s understanding that the individuals presented are not real, but rather actors or fictional representations. And thoughts about the media figure are media-related, for example, about the quality of Cora Potter’s performance for a certain role. The last form is the relationship to a celebrity, which is characterized by admiration and appreciation (Schweiger). All these forms of PSBs could apply to Cora Potter, even the first one, which is the least obvious. But since what is written about someone is never a correct portrayal of the actual person, but rather a character created by an author. Attractive characters, with a striking image or unusual figures, are more likely to be noticed (vgl. Hartmann et al. 2004; Giles 2002). Therefore, they are more likely to become a social surrogate. This also applies for characters who show authenticity and are approachable (Schweiger). But this character would also have to have a repeating media appearance and be visible for some time, long enough to get noticed. Otherwise, a relationship can’t be established. A text-based media or print media, such as Town Topics, has limited potential to enhance PSI and therefore PSBs. But it works for celebrities like Cora Potter who are regularly featured.
Today, a society without celebrity culture seems impossible. The intense public sensation with celebrities, characters celebrated for “well-knownness”, as Daniel Boorstin defined them, and their lives, is part of our culture. However, as with everything, celebrity culture has its roots in history. People always used to seek characters to rely on – a hero, someone to identify with. During the 18th century, these heroes used to be representatives of social institutions like the church and the military. But by the mid – 20th century, this shifted, and sportsmen and stars were of interest (Henderson). Several factors led to this development, starting with the end of the revolutionary
generation. Military heroes stopped to fit in with the spirit of the new generation, but Americans, as Washington Irving wrote, still “wanted something so rally round; some brilliant light to allure them from afar…they want something to attract and concentrate their affections…” (Henderson). Adding to that was the urbanization and rise of immigration. Between 1890 and the 1920s, twenty-three million people immigrated to America, forming a new society craving for self-definition (Henderson). This is the reason that personality became a means to distinguish individual selves from the masses. But that alone wouldn’t have caused the emergence of celebrity culture, without the revolution in technology and communication or “Graphic Revolution,” as Daniel Boorstin called it. Photography emerged, and so did the possibility of mass publication for magazines and newspapers. In the 1880s, the first mass urban newspaper appeared (Henderson). This matches the first publication of Town Topics, which was in 1879. Between 1870 and 1900, the circulation of daily papers increased 400% (Henderson). Magazines created to entertain by providing readers with literature, features about stars and sportsmen, theatre reviews, or even gossip, led to the redefinition of ideals of fame, success, and national heroism. At the end of the 19th century, inventors such as Thomas Edison were America’s most admired figures (Henderson). But that changed soon after. Journalist William Allen White wrote: “That decade which climaxed in 1912 was a time of tremendous change in our national life. … The American people were melting down old heroes and recasting the mold in which heroes were made.” This new culture emerged from the entertainment industry. As soon as mass publication appeared, the public became fascinated by entertainers and demanded articles about them. A journalist from the 1880s stated that drama made up a large part of the life of society and became a conversation topic among all social classes, making magazines with articles about leading actors highly popular (Henderson). This is exactly what Town Topics targeted by publishing theatre reviews and its gossip column. Luckily, the entertainment industry was centralized in New York, at least between 1900 and 1930 (Henderson). Since Town Topics was published in New York, the paper was at the very center of public interest. In conclusion can be said that print media was the origin of celebrity culture, and Town Topics: The Journal of Society, played its part in this development.
All content for educational purposes only.
University of Greifswald
Seminar: Editing the Scandal
(Summer Semester 2025)
Instructor: Prof. Dr. Katrin Horn