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

By Charlie Keil, Ben Singer

It was once through the teenagers that filmmaking actually got here into its personal. Studios migrated to the West Coast, developing a connection among moviemaking and the exoticism of Hollywood. The essays in American Cinema of the 1910s discover the swift advancements of the last decade that started with D. W. Griffith s unequalled one-reelers. by means of mid-decade, multi-reel function motion pictures have been profoundly reshaping the and deluxe theaters have been equipped to draw the broadest attainable viewers. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks turned very important and firms begun writing high-profile contracts to safe them. With the outbreak of worldwide conflict I, the political, fiscal, and business foundation used to be laid for American cinema's worldwide dominance. by way of the tip of the last decade, filmmaking had turn into a real undefined, whole with vertical integration, effective specialization and standardization of practices, and self-regulatory corporations.
Some of the flicks mentioned during this quantity are: The Lonedale Operator, site visitors in Souls, The Perils of Pauline, The delivery of a country, The Cheat, Intolerance, and female and male.

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

It used to be through the kids that filmmaking actually got here into its personal. Studios migrated to the West Coast, developing a connection among moviemaking and the exoticism of Hollywood. The essays in American Cinema of the 1910s discover the swift advancements of the last decade that all started with D. W. Griffith s unequalled one-reelers.

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

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Every star image further spurred audience interest in the originating vehicles—the films in which they appeared. And, as audience investment in stars intensified, advertisers learned to employ stars to sell an array of consumer goods, connecting them to soap and perfume, among other health and beauty items. Such campaigns initiated a longstanding tradition of aligning stars with both consumerism and physical self-improvement. With studios now employing the collective resources of publicity departments (Vitagraph’s 1913 pamphlet claimed that to “popularize its players” was one of its promotion people’s chief aims), an entire infrastructure developed to cultivate fan interest, including the emergence of publications designed to provide more information on the stars for a curious public.

Feature films and picture palaces were mutually enabling and dependent, bound together like the two strands of a double helix. One could not exist without the other: high-volume, high-price exhibition norms gave producers the revenue necessary for making expensive, attractive features with major stars; expensive, attractive features with major stars were necessary to fill large theaters and merit higher ticket prices. The highest-profile early picture palace was the 3,500-seat Strand Theater in Times Square, which opened in mid-1914.

Bureau of the Census, “Thirteenth” 21, 54–55, 93–94, 98; Cashman, Ascendant 90, 67; Schlereth 55). Rapid communication and transportation were still available only to a few. Eighty-five percent of homes lacked electricity; there was one telephone for every ninety people; less than 5 percent of eighteen- to twentyone-year-olds went on to college (Schlereth 115; Cooper 136–37). The number of automobiles had grown to almost half a million (from fewer than ten thousand at the turn of the century), but that meant just one for every two hundred people (Cooper 133).

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