Charlie Keil, Ben Singer's American Cinema of the 1910s: Themes and Variations (The PDF

By Charlie Keil, Ben Singer

ISBN-10: 0813544459

ISBN-13: 9780813544458

It was once throughout the adolescents that filmmaking actually got here into its personal. Studios migrated to the West Coast, constructing a connection among moviemaking and the exoticism of Hollywood. The essays in American Cinema of the 1910s discover the quick advancements of the last decade that started with D. W. Griffith s unequalled one-reelers. via mid-decade, multi-reel function motion pictures have been profoundly reshaping the and deluxe theaters have been outfitted to draw the broadest attainable viewers. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks grew to become very important and firms begun writing high-profile contracts to safe them. With the outbreak of worldwide battle I, the political, monetary, and commercial basis was once laid for American cinema's worldwide dominance. through the tip of the last decade, filmmaking had turn into a real undefined, entire with vertical integration, effective specialization and standardization of practices, and self-regulatory organizations.
Some of the flicks mentioned during this quantity are: The Lonedale Operator, site visitors in Souls, The Perils of Pauline, The delivery of a state, The Cheat, Intolerance, and female and male.

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Extra resources for American Cinema of the 1910s: Themes and Variations (The Screen Decades Series)

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Her attempts to sell beadwork elicit only taunts from some loutish cowboys, who have ridden their horses into the saloon. By the end of the film, however, she displays heroic mastery, leading a horseback chase for the kidnappers of the son of the one cowboy—seen earlier as a solid family rancher—who had attempted to defend her. Disguised in men’s clothes, she tempts the kidnappers to chase her and the child over a rope she has strung across a sheer-walled canyon, alongside a spectacular waterfall.

Over the next eighteen months, her salary rose to $100 a week. In 1911, Carl Laemmle wooed INTRODUCTION 21 her away to IMP with an offer of $175 a week. After another spell at Biograph, where she earned roughly $200 a week, and then some acting on Broadway, she signed with Adolph Zukor’s Famous Players Company in 1914, starting at roughly $400 a week (a year-long contract of $20,000). Her box office appeal soon prompted Zukor to boost her salary to $1,000 a week. Within just a few months, Pickford’s popularity (and her hardnosed business acumen) yielded another successful salary renegotiation: a January 1915 contract gave her $2,000 a week and half the profits of her productions (ten films a year).

Films were virtually everywhere, not only in schools, YMCAs, and department stores. ” On other days the church showed more secular movies on the theory “that if the people fill the building throughout the week they will be more likely to fill it on Sundays” (“Pictures in Church”). Contrary to the nervous troubles predicted for viewers by Health, the Nebraska state asylum for the insane installed a projector because “these pictures appear to soothe patients and . . they can watch them without the exciting effects of other forms of diversion” (“Pictures to Soothe Insane”).

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American Cinema of the 1910s: Themes and Variations (The Screen Decades Series) by Charlie Keil, Ben Singer


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