A few years before the break out of the World War I, modernity in the entertainment sector was characterized by the merger of powerful capitalist and democratic forces into consumerism. In the early 20 th century, the cinematography enhanced and the success of better movies resulted in continued opening of theaters in large numbers across America. Filmmakers started making more comedies, chase films, westerns and crime. Moreover, experimentation with narrative techniques and camera also intensified. The cinematographers of Brighton, England, also laid a foundation for film to develop from a primitive to a more advanced stage (Bordwell, 1999). The introduction of the star system proved to be an outstanding means of earning a profit from not only the production, but also distribution and even exposition of films. The star system As the consumerism increased in America, the star system emerged to market the actors as the main attraction to filmgoers. A renowned filmmaker, David Wark Griffith, enhanced the filming techniques such as close-ups, moving camera shots and point-of-view shots (Starr, 1985). The idea of color film also laid a foundation to Griffith’s filming. David Wark Griffith used actors such as Mary Pickford, Lillian Gish, Douglas Fairbanks and Charlie Chaplin. These stars formed United Artists organization later on (McDonald, 2000, p. 36). United Artists (UA) functioned as a distribution company for the films produced by the star names. The filmmakers were placed in a position where they could extend their economic power by negotiating broadly across the cinema industry. This organization helped enhance the film business impressively. The strength of star system is evident in Mary Pickford’s first United Artist film release, Pollyanna (1919) by Paul Powell (McDonald, 2000, p. 35). In this film, Mary is featured as little girl in the title role. The film Pollyanna was produced through Mary Pickford Company and distributed by UA. By the age of 23, Pickford had already developed herself as the most influential woman in the motion-picture industry. Typically, a developed business practice in the exhibition sector was to lease prints from distributors at a fixed fee. However, Pollyanna was made available only on the basis of both a guaranteed base rental fee together with a percentage split of box office income. Despite complaints, the exhibitors reluctantly agreed to UA’s terms. This transformed the business practice for transactions between exhibitors and distributors. In the 1920s, Pickford’s profession experienced ups and downs in the stars financial and critical status. In spite of taking more adult roles in films, the filmgoers were unenthusiastic about letting Pickford abandon her child-woman image. Since its establishment, UA underwent years of financial predicaments. These financial recesses were partly attributed to the company’s star management which was ineffective. In 1951, Pickford eventually sold her UA shares and described UA as ‘sick unto death’ (Flom, 2009, p. 224). At the height of her appeal however, Pickford had clearly demonstrated the wide-ranging power that the star could wield across all sectors of the film industry (McDonald, 2000, p. 42). Pickford’s i