This premier analysis of her body of work explores how Dressler refocused the generic frame of her films beyond the shallow problems of the rich and beautiful, instead dignifying the marginalized, the elderly, women, and the poor. Sturtevant inteprets the meanings of Dressler's body through different genres, venues, and historical periods by looking at her vaudeville career, her transgressive representation of an "unruly" yet sexual body in Emma and Christopher Bean, ideas of the body politic in the films Politics and Prosperity, and Dressler as a mythic body in Min and Bill and Tugboat Annie.