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Between the late 19th and early 20th century weight shifted form an issue under the umbrella of health, to one under the umbrella of beauty. Diet shifted from meaning the “foods one ate” to a restrictive regimen aimed at reduction. In the late 19th century, discussions about food and diet were centered on health. For example, when the Los Angeles Board of Health Commissioners referenced the possible spread of Asiatic cholera, they offered a plethora of hygienic recommendations to stifle the spread of this disease—including hygienic food and drink recommendations.

If articles referenced weight-loss or gain, they elicited health concerns, not aesthetic ones. In 1872, Sylvester Graham, the inventor of the graham cracker, suggested gluttony diminished health, and adversely affected health.<ref name="Sylvester Graham, M.D."> [Sylvester Graham, M.D., Lectures on the Science of Human Life, (Battle Creek: The Office of the Health Reformer, 1872), p. 25.].</ref> While health authorities generally advocated against gluttony or corpulence, they did so to protect their followers from the discomforts associated with indigestion and constipation. They urged a healthy diet—they did not push an aesthetic idea related to dietetic restriction. In the 20th century, however, this would change, particularly with Lulu Hunt Peters’ arrival to Los Angeles.

[[File:Dr-lulu-peters.jpg|thumbnail|left]]

===Patriotism and the Hollywood Diet===

Peters suggested forming the “Watch Your Weight Anti-Kaiser Class,” a program eerily reminiscent of weight-watchers meetings, except that those who failed to lose weight each week were fined—with the proceeds given as a donation to the Red Cross. While patriotism may have been in the background, the point of Diet and Health was clear—fatness resulted from overeating and under-exercising. While Peters acknowledged that genetics played a role in physique, she believed the decision to be fat was left, ultimately, to the individual. In Diet and Health and her later column in the Los Angeles Times, Peters urged her readers to reduce intake and food to numbers of calories, essentially mathematizing diet, and popularizing the concept of calorie-counting.

In 1918, Rob Wagner wrote Film Folks: “Close-Ups” of the Men, Women, and Children Who Make the “Movies” in which he essentially broke down, into digestible chapters, the conventional roles and plots of the movies. One chapter, titled “The Movie Queen,” was much longer than the rest. When searching for “potential Juliets,” appearance was incredibly significant. Studios and employment bureaus asked girls for the name, phone number, address, age, height, weight, hair, chest, eyes, waist, nationality, wardrobe and previous experience. After they took this information, the girls were “filed away under various heads, such as matrons, young girls, children, chorus types, fat, [and] thin…” to be called upon when a particular opening requires.<ref name="Rob Wagner"> [Rob Wagner, Film Folk: ‘Close-Ups’ of the Men, Women, and Children who Make the ‘Movies,’ (New York: The Century Co., 1918), p. 250, 252].</ref>

The nascent film companies attempted to keep their stars anonymous—to prevent them from becoming too popular and asking for higher pay. However, when Carl Laemmle, a film-trust opponent, began to lure actresses from other companies (promising publicity and fame) stardom skyrocketed. Once film consumers knew actors and actresses by name, film stars became trademarks for products and salaries rose. As salaries increased, requirements for actors and actresses did as well.

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